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 Togo and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Liaisons Dangereuses to the punk kids.
I played it at the Crocodile.
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 Clear Light. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Yaz,
Art Ensemble Of Chicago,
The Sisters of Mercy,
K-Klass,
Fatback Band,
De La Soul & Jungle Brothers,
Ronnie Foster,
The Music Machine,
Wighnomy Brothers & Robag Wruhme,
Nation of Ulysses,
Moss Icon,
Aswad,
Roxy Music,
Marcia Griffiths,
Lakeside,
Y Pants,
Ohio Players,
Avey Tare & Kría Brekkan,
the Germs,
Model 500,
Fugazi,
Curtis Mayfield,
Urselle,
Terrestrial Tones,
Roger Hodgson,
Spandau Ballet,
Deakin,
Thompson Twins,
Drive Like Jehu,
Lalann,
The Mummies,
Kurtis Blow,
T. Rex,
Tim Buckley,
The Misunderstood,
Scott Walker + Sunn O))),
The Wake,
Deadbeat,
Charles Mingus,
CMW,
Ituana,
Sticky Fingaz feat. Raekwon,
Kerri Chandler,
Joy Division,
Nils Olav,
Steve Hackett,
Jesper Dahlbäck,
Sight & Sound,
Lee Hazlewood,
The United States of America,
Pierre Henry,
Sugar Minott,
Lindisfarne,
Electric Light Orchestra,
Sad Lovers and Giants,
Ultravox,
Accadde A,
The Human League,
Liaisons Dangereuses,
Animal Collective,
Jawbox,
Cal Tjader,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.