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 Portugal and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Stockholm 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Ajijia Myrayebe to the electroclash kids.
I played it at the Troubador.
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 Nik Kershaw. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
a-ha,
Lyres,
Skarface,
The Kinks,
Interpol,
T. Rex,
Albert Ayler,
The Invisible,
Television,
X-101,
The Seeds,
Jimmy McGriff,
The Residents,
Boogie Down Productions,
Cal Tjader,
Mary Jane Girls,
Delta 5,
Moss Icon,
The Mummies,
The Buckinghams,
The Fuzztones,
It's A Beautiful Day,
The Sound,
Gastr Del Sol,
Dark Day,
The Music Machine,
Beasts of Bourbon,
Little Man,
Matthew Bourne,
Avey Tare & Kría Brekkan,
Ohio Players,
Pole,
Audionom,
Godley & Creme,
Manfred Mann's Earth Band,
Bootsy's Rubber Band,
X-102,
The Selecter,
Funky Four + One,
Wasted Youth,
Unrelated Segments,
Whodini,
Cheater Slicks,
Buzzcocks,
Nas,
Kenny Larkin,
Crispian St. Peters,
the Association,
Half Japanese,
Drexciya,
The Divine Comedy,
The Wake,
The Mighty Diamonds,
Vladislav Delay,
Black Flag,
FM Einheit,
Minutemen,
Ossler,
Khruangbin,
Skaos,
Terry Callier,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.