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 Lithuania and from Philadelphia.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manila and Calgary.
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 oboe 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 Roger Hodgson to the jazz kids.
I played it at the Troubador.
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 Mandrill. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every The Standells 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Japan,
Be Bop Deluxe,
The New Christs,
Jandek,
Marc Romboy vs. Booka Shade,
Magma,
Mr. Review,
Quando Quango,
Gil Scott-Heron & Brian Jackson,
David McCallum,
Radio Birdman,
Spoonie Gee,
The Doors,
The Litter,
Kurtis Blow,
Nik Kershaw,
Zero Boys,
Lonnie Liston Smith,
Public Enemy,
The Toasters,
Motorama,
Piero Umiliani,
The Wake,
Juan Atkins,
Interpol,
In Retrospect,
Lou Christie,
Alice Coltrane,
Au Pairs,
Circle Jerks,
Porter Ricks,
The Trojans,
Surgeon,
X-102,
The Smoke,
AZ,
Ten City,
The Residents,
Kings Of Tomorrow,
Excepter,
Yellowson,
The Last Poets,
Roy Ayers,
Mary Jane Girls,
The Offenders,
Hardrive,
Richard Hell and the Voidoids,
The Real Kids,
Maurizio,
Al Stewart,
The Kinks,
Schoolly D,
Lou Reed & John Cale,
Red Lorry Yellow Lorry,
Rapeman,
B.T. Express,
Parry Music,
The Dave Clark Five,
Can,
Susan Cadogan,
Rakim,
Fear, Fear, Fear, Fear.
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.