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 Lebanon and from Salvador.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Houston and Tehran.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Marshall Jefferson to the electroclash 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 Rosa Yemen. All the underground hits.
All Pole tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Unwound 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?
Eric Dolphy,
The Star Department,
Orchestral Manoeuvres in the Dark,
Tres Demented,
Q and Not U,
Eurythmics,
Faraquet,
Derrick Morgan,
X-101,
The Stooges,
The Blues Magoos,
Peter Gordon & Love of Life Orchestra,
Dr. Dre and Snoop Doggy Dog,
The Saints,
John Foxx,
Sly & The Family Stone,
Eve St. Jones,
The Dirtbombs,
Smog,
Peter and Kerry,
Big Daddy Kane,
Index,
The Wake,
Black Pus,
Fugazi,
DJ Sneak,
Animal Collective,
Jeff Lynne,
The Victims,
The Mojo Men,
Dennis Brown,
Saccharine Trust,
Parry Music,
Gastr Del Sol,
Bizarre Inc.,
Blossom Toes,
AZ,
Connie Case,
Letta Mbulu,
Sun Ra Arkestra,
Spandau Ballet,
Sparks,
Susan Cadogan,
Minnie Riperton,
The Black Dice,
Gil Scott Heron,
Public Image Ltd.,
The Fuzztones,
Stiv Bators,
B.T. Express,
Hardrive,
Amon Düül,
Con Funk Shun,
The Leaves,
The Cure,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Davy DMX,
Kango’s Stein Massive,
Radio Birdman,
The Men They Couldn't Hang,
The American Breed,
Minutemen, Minutemen, Minutemen, Minutemen.
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.