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 Germany and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Edmonton 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 Donald Fagen 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 Kool G Rap & DJ Polo to the funk kids.
I played it at the Astoria.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
DJ Sneak,
Basic Channel,
Kool Moe Dee,
the Association,
Scientists,
Ice-T,
Lyres,
The Motions,
Radio Birdman,
The Count Five,
Agitation Free,
Avey Tare's Slasher Flicks,
Terry Callier,
In Retrospect,
Eyeless In Gaza,
Crispy Ambulance,
Babytalk,
ABC,
Lou Reed & Metallica,
The West Coast Pop Art Experimental Band,
Dennis Brown,
Colin Newman,
Harmonia,
Newcleus,
Anakelly,
Visionaries,LMNO, T- Love & Iriscience,
Howard Jones,
Fad Gadget,
Danielle Patucci,
Pere Ubu,
Q65,
Model 500,
Guru Guru,
Manfred Mann's Earth Band,
Sex Pistols,
Cecil Taylor,
The Monks,
The Mummies,
Sister Nancy,
The Modern Lovers,
Public Enemy,
Charles Mingus,
Tubeway Army,
A Certain Ratio,
Art Ensemble Of Chicago,
Maurizio,
Alton Ellis,
Nation of Ulysses,
Public Image Ltd.,
Neil Young & Crazy Horse,
Faraquet,
UT,
The Cowsills,
Thinking Fellers Union Local 282,
Faust,
Roxette,
Malaria!,
Ohio Players,
Arcadia,
Darondo,
Roxy Music,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.