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 Guatemala and from Lille.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Names to the rock kids.
I played it at the Troubador.
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 the Slits. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Liliput,
Röyhkä ja Rättö ja Lehtisalo,
Camron Feat. Memphis Bleek And Beenie Seigel,
UT,
Gang Green,
Loose Ends,
De La Soul & Jungle Brothers,
Faraquet,
Lower 48,
Lebanon Hanover,
Suicide,
The Golliwogs,
Fluxion,
Eve St. Jones,
Niagra,
Soul Sonic Force,
Barry Ungar,
Technova,
Agitation Free,
Alton Ellis,
Wings,
Stiv Bators,
Bush Tetras,
Fugazi,
Interpol,
X-Ray Spex,
The Count Five,
The Barracudas,
Glambeats Corp.,
AZ,
Pulsallama,
48th St. Collective,
Delta 5,
Swell Maps,
Jerry Gold Smith,
Deutsch Amerikanische Freundschaft,
Peter and Kerry,
Vainqueur,
Heavy D & The Boyz,
Audionom,
Q65,
MDC,
Brothers Johnson,
Danielle Patucci,
Kerrie Biddell,
Sällskapet,
cv313,
Selector Dub Narcotic,
Deadbeat,
Saccharine Trust,
Hasil Adkins,
Teenage Jesus and the Jerks,
Trumans Water,
Scott Walker + Sunn O))),
Skaos,
Harmonia,
Malaria!,
Boz Scaggs,
The Velvet Underground,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.