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 San Marino and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Bologna 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 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 Richard Hell and the Voidoids to the punk 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 Byron Stingily. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Terry Callier,
Lou Reed & John Cale,
Sight & Sound,
The West Coast Pop Art Experimental Band,
The Misunderstood,
Wings,
Rahsaan Roland Kirk,
The Litter,
Monks,
Alison Limerick,
The Leaves,
Beasts of Bourbon,
The Tremeloes,
Bob Dylan,
John Foxx,
Sound Behaviour,
Eric B and Rakim,
The Pretty Things,
Red Lorry Yellow Lorry,
Gregory Isaacs,
Banda Bassotti,
Avey Tare's Slasher Flicks,
MDC,
Quadrant,
De La Soul & Jungle Brothers,
Ossler,
Franke,
Lightning Bolt,
Ralphi Rosario,
Cal Tjader,
Index,
Mission of Burma,
The Dirtbombs,
The Fuzztones,
8 Eyed Spy,
Delon & Dalcan,
Average White Band,
Rosa Yemen,
Animal Collective,
Mad Mike,
The Fortunes,
Public Image Ltd.,
Glambeats Corp.,
Lou Reed & Metallica,
Echospace,
Wally Richardson,
Fat Boys,
Kayak,
Amazonics,
Crooked Eye,
Pantaleimon,
The Music Machine,
The Cowsills,
Grauzone,
Barry Ungar,
Liliput,
Public Enemy,
T. Rex,
Soulsonic Force,
Michelle Simonal,
The Move,
Laurel Aitken,
Parry Music, Parry Music, Parry Music, Parry Music.
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.