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 Iran and from Portland.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Scan 7 to the funk kids.
I played it at the Hacienda.
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 Heavy D & The Boyz. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Fugazi 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 '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Traffic Nightmare,
Donald Byrd,
the Fania All-Stars,
The Mojo Men,
Massinfluence,
Laurel Aitken,
The Beau Brummels,
Model 500,
Royal Trux,
The Fire Engines,
Nick Fraelich,
U.S. Maple,
Delta 5,
Patti Smith,
kango's stein massive,
Boz Scaggs,
Charles Mingus,
Easy Going,
Section 25,
Yaz,
Mad Mike,
Lucky Dragons,
Wasted Youth,
Neil Young,
The Jesus and Mary Chain,
Glambeats Corp.,
Tears for Fears,
The Smiths,
Robert Hood,
Drexciya,
A Certain Ratio,
Jandek,
Thompson Twins,
Joe Smooth,
Sad Lovers and Giants,
Hoover,
Blancmange,
John Lydon,
Lee Hazlewood,
F. McDonald,
Excepter,
48th St. Collective,
Jeff Lynne,
Country Teasers,
Angry Samoans,
Fad Gadget,
Lyres,
Gastr Del Sol,
Livin' Joy,
Bad Manners,
Pylon,
Jerry Gold Smith,
Stereo Dub,
Joensuu 1685,
Beasts of Bourbon,
Los Fastidios,
the Human League,
Cheater Slicks,
The Selecter,
Black Flag,
The Gories,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.