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 China and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Bologna 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 güiro 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 Dead Boys to the punk 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 Oblivians. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Ajijia Myrayebe,
Grauzone,
Jerry's Kids,
Ludus,
T.S.O.L.,
Justin Hinds & The Dominoes,
The Dirtbombs,
Letta Mbulu,
ABC,
Ken Boothe,
Robert Görl,
Circle Jerks,
Barclay James Harvest,
The Motions,
Franke,
The Cowsills,
Eric Copeland,
Pantytec,
Skriet,
The Pretty Things,
48th St. Collective,
Gang of Four,
Can,
Laurel Aitken,
Ten City,
Cymande,
The Offenders,
Dark Day,
Pole,
The Last Poets,
Deutsch Amerikanische Freundschaft,
The Shadows of Knight,
David Bowie,
In Retrospect,
Minny Pops,
Oppenheimer Analysis,
AZ,
Pulsallama,
The Golliwogs,
Lou Reed,
Hardrive,
EPMD,
Accadde A,
Nico,
Crooked Eye,
Wasted Youth,
Massinfluence,
Bush Tetras,
Heaven 17,
Henry Cow,
Marc Romboy vs. Booka Shade,
De La Soul & Jungle Brothers,
Alice Coltrane,
Pet Shop Boys,
Röyhkä ja Rättö ja Lehtisalo,
The Fire Engines,
The Busters,
Kool Moe Dee,
Sun Ra Arkestra,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.