Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Chad and from Jakarta.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Qualms to the electroclash kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by cv313. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Arthur Verocai,
Sarah Menescal,
Popol Vuh,
The Doors,
Urselle,
Deutsch Amerikanische Freundschaft,
Neil Young,
Barclay James Harvest,
The Residents,
Reuben Wilson,
Nick Fraelich,
Eve St. Jones,
The Motions,
A Flock of Seagulls,
Basic Channel,
Easy Going,
EPMD,
Notorious Big And Bone Thugs,
Alison Limerick,
Eden Ahbez,
Manfred Mann's Earth Band,
Amon Düül,
Rufus Thomas,
Peter and Kerry,
Stetsasonic,
The Alarm Clocks,
Alton Ellis,
ABBA,
Cybotron,
Camberwell Now,
The Slits,
Roxette,
Crash Course in Science,
Rites of Spring,
The Gladiators,
Radiohead,
Avey Tare & Kría Brekkan,
The Skatalites,
Au Pairs,
Khruangbin,
Yusef Lateef,
Maleditus Sound,
Roy Ayers Ubiquity,
The Saints,
The Knickerbockers,
The Slackers,
The Mighty Diamonds,
Cal Tjader,
Fluxion,
The Moody Blues,
Traffic Nightmare,
Gil Scott Heron,
FM Einheit,
Little Man,
These Immortal Souls,
Carl Craig,
Lucky Dragons,
The Seeds,
Tropical Tobacco,
Intrusion,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.