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 Djibouti and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school New York 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 Mars to the rap kids.
I played it at Cafe Wha.
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 Bobbi Humphrey. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Isaac Hayes,
Desert Stars,
The Young Rascals,
World's Most,
Ice-T,
Ralphi Rosario,
Dead Boys,
Bizarre Inc.,
The Index,
Sound Behaviour,
Public Enemy,
The Zeros,
Television Personalities,
The Sound,
Eve St. Jones,
Newcleus,
Ornette Coleman,
Model 500,
Blossom Toes,
Fluxion,
The Neon Judgement,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
Godley & Creme,
Make Up,
Amon Düül,
Louis and Bebe Barron,
De La Soul & Jungle Brothers,
The Mummies,
The Litter,
Public Image Ltd.,
Teenage Jesus and the Jerks,
KRS-One,
Lucky Dragons,
Minutemen,
Young Marble Giants,
Lightning Bolt,
CMW,
E-Dancer,
Faust,
Eric B and Rakim,
Maurizio,
Spoonie Gee,
James Chance & The Contortions,
Gastr Del Sol,
Sexual Harrassment,
Ronnie Foster,
Khruangbin,
Davy DMX,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
The Cowsills,
Nik Kershaw,
Visage,
Ronan,
Oppenheimer Analysis,
Darondo,
The Mighty Diamonds,
Kool Moe Dee,
Kango’s Stein Massive,
Marc Almond,
Joyce Sims,
Intrusion,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.