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 Spain and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Tehran 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 New Age Steppers to the funk 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 Ornette Coleman. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every The Dead C 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 '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Grandmaster Flash,
John Holt,
Sister Nancy,
Jawbox,
Jacques Brel,
Lower 48,
ABBA,
Peter and Kerry,
Terrestrial Tones,
Black Pus,
Thee Headcoats,
Quadrant,
Theoretical Girls,
Albert Ayler,
Tubeway Army,
Brothers Johnson,
Yusef Lateef,
Country Teasers,
Harpers Bizarre,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Rowland S Howard / Lydia Lunch,
Section 25,
Agent Orange,
Pantaleimon,
Minor Threat,
The Detroit Cobras,
Gang of Four,
Essential Logic,
Eddi Front,
The Residents,
The Blackbyrds,
The Royal Family And The Poor,
Fifty Foot Hose,
Main Source,
The Kinks,
The Blues Magoos,
Carl Craig,
Stetsasonic,
Lalo Schifrin,
Unrelated Segments,
Royal Trux,
Soul II Soul,
Eric Dolphy,
Mandrill,
Dennis Brown,
Visionaries,LMNO, T- Love & Iriscience,
Eyeless In Gaza,
Mission of Burma,
Wolf Eyes,
The Real Kids,
Bill Wells,
New Order,
Orchestral Manoeuvres in the Dark,
Camouflage,
Lightning Bolt,
Sunsets and Hearts,
The Modern Lovers,
Nas,
The Stooges,
F. McDonald,
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.