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 East Timor and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Copenhagen 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 theremin 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 The Star Department to the disco 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 Dual Sessions. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Interpol,
Lucky Dragons,
Second Layer,
UT,
JFA,
The Doors,
Wally Richardson,
The Peanut Butter Conspiracy,
cv313,
Joyce Sims,
Loose Ends,
Reuben Wilson,
Trumans Water,
Byron Stingily,
Electric Prunes,
Inner City,
The Selecter,
Ossler,
Hasil Adkins,
Zapp,
The Smiths,
Drexciya,
Sixth Finger,
The Index,
Skriet,
Junior Murvin,
Pole,
Blossom Toes,
The Red Krayola,
Ultra Naté,
Spoonie Gee,
Black Moon,
Erasure,
Pharaoh Sanders and the Fire Engines,
The Electric Prunes,
DNA,
The Sound,
Althea and Donna,
Neil Young & Crazy Horse,
The Cosmic Jokers,
The Misunderstood,
Jesper Dahlbäck,
Sun City Girls,
Leonard Cohen,
Pylon,
Shuggie Otis,
Aural Exciters,
La Düsseldorf,
Cal Tjader,
The Happenings,
Aswad,
Warsaw,
Maurizio,
Terrestrial Tones,
Bluetip,
Oblivians,
Mary Jane Girls,
Dead Boys,
Darondo,
Graham Central Station,
Notorious Big And Bone Thugs,
The Royal Family And The Poor,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.