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 Korea South and from Shanghai.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Avey Tare's Slasher Flicks to the funk kids.
I played it at the Roxy.
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 Fifty Foot Hose. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Masters at Work,
The Martian,
Reagan Youth,
Terry Callier,
Quantec,
Talk Talk,
Siglo XX,
Wighnomy Brothers & Robag Wruhme,
Boredoms,
The Names,
Sparks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Depeche Mode,
Liliput,
The Techniques,
Kerrie Biddell,
In Retrospect,
Mars,
Chris Corsano,
Gabor Szabo,
Y Pants,
The Doors,
Minny Pops,
The Count Five,
Brand Nubian,
Carl Craig,
Gerry Rafferty,
X-Ray Spex,
Radiopuhelimet,
Scratch Acid,
DNA,
Arab on Radar,
Scott Walker + Sunn O))),
Deepchord,
The Royal Family And The Poor,
Deadbeat,
The Wake,
Mr. Review,
Josef K,
The Real Kids,
Mo-Dettes,
the Soft Cell,
The Raincoats,
Dual Sessions,
Bang On A Can,
The Sisters of Mercy,
Joy Division,
Icehouse,
Johnny Clarke,
Au Pairs,
Barbara Tucker,
The Victims,
Eric B and Rakim,
La Düsseldorf,
Inner City,
Wings,
The Monks,
Sarah Menescal,
Glambeats Corp.,
R.M.O.,
Half Japanese,
The Fortunes,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.