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 Dominican Republic and from Stockholm.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Mexico City 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 marimba 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 Grey Daturas to the techno 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 Pagans. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 Bootsy Collins record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Sonics,
Röyhkä ja Rättö ja Lehtisalo,
Moss Icon,
Judy Mowatt,
Franke,
Tomorrow,
Don Cherry,
Kevin Saunderson,
The Kinks,
Matthew Halsall,
Q and Not U,
Zero Boys,
James White and The Blacks,
Juan Atkins,
Captain Beefheart & His Magic Band,
Young Marble Giants,
The American Breed,
Crispian St. Peters,
T. Rex,
Pantytec,
Davy DMX,
Shoche,
Frankie Knuckles,
Model 500,
Eli Mardock,
Make Up,
Negative Approach,
Larry & the Blue Notes,
The Cowsills,
Derrick Morgan,
Swell Maps,
48th St. Collective,
Pole,
Iggy Pop,
Black Moon,
Sugar Minott,
F. McDonald,
Sad Lovers and Giants,
Ultravox,
Minutemen,
Mary Jane Girls,
Anakelly,
Index,
Derrick May,
Bobbi Humphrey,
Donald Byrd,
Buzzcocks,
Funkadelic,
Nils Olav,
Kool G Rap & DJ Polo,
The Mojo Men,
Wings,
Banda Bassotti,
Ultra Naté,
The United States of America,
Terror Squad Feat. Camron,
Warsaw,
Parry Music,
Janne Schatter,
Marc Romboy vs. Booka Shade,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.