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 Poland and from Taipei.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Taipei 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Accadde A to the grime kids.
I played it at the 40 Watt.
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 Vladislav Delay. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every The Move 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Yusef Lateef,
Red Lorry Yellow Lorry,
Aaron Thompson,
Gong,
DNA,
Masters at Work,
Fluxion,
Rekid,
Bob Dylan,
Rhythm & Sound,
Slick Rick,
The Tremeloes,
Gang Starr,
Nick Fraelich,
The Music Machine,
Captain Beefheart & His Magic Band,
Amon Düül,
Rotary Connection,
Al Stewart,
Rosa Yemen,
Half Japanese,
Monolake,
Max Romeo,
Black Flag,
Hasil Adkins,
Moby Grape,
Juan Atkins,
Stetsasonic,
Donny Hathaway,
Flipper,
Yellowson,
Procol Harum,
Skarface,
The Grass Roots,
The Moleskins,
Rowland S Howard / Lydia Lunch,
Gregory Isaacs,
Angels of Light & Akron/Family,
Marc Romboy vs. Booka Shade,
Camberwell Now,
The Gun Club,
Jawbox,
Sunsets and Hearts,
cv313,
Grauzone,
Massinfluence,
Echo & the Bunnymen,
Underground Resistance,
Freddie Wadling,
Byron Stingily,
Fifty Foot Hose,
Robert Hood,
Mark Hollis,
Eden Ahbez,
Wasted Youth,
Stiv Bators,
Althea and Donna,
Organ,
Sad Lovers and Giants,
Selector Dub Narcotic,
Icehouse,
Bang On A Can,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.