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 Kuwait and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Subhumans to the grime kids.
I played it at the Roxy.
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 Zapp. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every DNA 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Bush Tetras,
Model 500,
Unrelated Segments,
Byron Stingily,
Hashim,
Rod Modell,
Teenage Jesus and the Jerks,
Josef K,
Lyres,
Sonic Youth,
Mission of Burma,
Drive Like Jehu,
Rosa Yemen,
Robert Görl,
Intrusion,
FM Einheit,
The Pop Group,
Joe Finger,
Eddi Front,
Big Daddy Kane,
Minny Pops,
Jawbox,
Junior Murvin,
Rotary Connection,
Alice Coltrane,
Erykah Badu,
The Fortunes,
The Mighty Diamonds,
Royal Trux,
Sex Pistols,
Judy Mowatt,
Absolute Body Control,
Roy Ayers Ubiquity,
The Mummies,
Laurel Aitken,
Neil Young & Crazy Horse,
Tomorrow,
Whodini,
Suburban Knight,
Notorious BIG live in Amsterdam,
La Düsseldorf,
Simply Red,
Saccharine Trust,
Danielle Patucci,
cv313,
Los Fastidios,
Stetsasonic,
Stockholm Monsters,
Altered Images,
Pulsallama,
Vainqueur,
The Doors,
Dead Boys,
Larry & the Blue Notes,
Captain Beefheart & His Magic Band,
Fatback Band,
Carl Craig,
Skaos,
Gary Puckett & The Union Gap,
The Human League,
Sight & Sound,
The Martian, The Martian, The Martian, The Martian.
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.