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 Australia and from Mexico City.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar 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 Vladislav Delay to the grime 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 Zapp. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal funk 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Faraquet,
Ultramagnetic MC's,
Audionom,
Franke,
Gastr Del Sol,
Stereo Dub,
Depeche Mode,
It's A Beautiful Day,
Porter Ricks,
James White and The Blacks,
Agent Orange,
Ludus,
Roy Ayers Ubiquity,
Tears for Fears,
Louis and Bebe Barron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultra Naté,
Warren Ellis,
Visage,
Junior Murvin,
Kauko Röyhkä ja Narttu,
Peter & Gordon,
Peter Gordon & Love of Life Orchestra,
Minutemen,
Vaughan Mason & Crew,
Be Bop Deluxe,
Rakim,
The Fugs,
Con Funk Shun,
The Velvet Underground,
Echospace,
ABC,
The Electric Prunes,
Radio Birdman,
Davy DMX,
Schoolly D,
Surgeon,
Sound Behaviour,
Notorious BIG live in Amsterdam,
B.T. Express,
Fluxion,
Pole,
Rod Modell,
The Red Krayola,
Adolescents,
Glenn Branca,
Oppenheimer Analysis,
MC5,
The Dirtbombs,
Nico,
Electric Prunes,
The Gun Club,
The West Coast Pop Art Experimental Band,
The Fire Engines,
Eden Ahbez,
Andrew Hill,
Aaron Thompson,
The Seeds,
The Smiths,
Kerri Chandler,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.