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 Saudi Arabia and from Lille.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Lagos 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Mission of Burma to the grime 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 Graham Central Station. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Skriet,
Pete Rock & C.L. Smooth,
Cameo,
Gong,
Bauhaus,
Eric Dolphy,
The Doobie Brothers,
Barclay James Harvest,
The Techniques,
cv313,
Gastr Del Sol,
Derrick May,
X-102,
Marcia Griffiths,
Kool G Rap & DJ Polo,
Brass Construction,
The Moleskins,
Kayak,
Terrestrial Tones,
Ken Boothe,
The Wake,
John Holt,
Soulsonic Force,
Boogie Down Productions,
Dead Boys,
Curtis Mayfield,
Gang Green,
Toni Rubio,
Radiopuhelimet,
Ajijia Myrayebe,
Whodini,
Japan,
Siouxsie and the Banshees,
Gil Scott-Heron & Brian Jackson,
Sällskapet,
Mark Hollis,
Hoover,
Bootsy's Rubber Band,
Fear,
Leonard Cohen,
Motorama,
Chrome,
Faraquet,
Black Bananas,
The Evens,
Pole,
Funky Four + One,
Bill Near,
Fad Gadget,
Grandmaster Flash,
Ohio Players,
Electric Light Orchestra,
Flash Fearless,
Sandy B,
Rufus Thomas,
Marc Romboy vs. Booka Shade,
Half Japanese,
World's Most,
The Happenings,
Procol Harum,
Junior Murvin,
Liliput, Liliput, Liliput, Liliput.
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.