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 Spain 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 1968 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Copenhagen 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Q and Not U to the disco 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 James White and The Blacks. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Victims,
Icehouse,
The Pretty Things,
Eric B and Rakim,
Rotary Connection,
Donny Hathaway,
Gichy Dan,
Soul II Soul,
Rod Modell,
Rosa Yemen,
Gong,
JFA,
Pierre Henry,
The Gun Club,
Maleditus Sound,
Nas,
Tommy Roe,
Visage,
U.S. Maple,
Rhythim Is Rhythim,
Funky Four + One,
Lizzy Mercier Descloux,
Godley & Creme,
New Age Steppers,
Juan Atkins,
Avey Tare's Slasher Flicks,
Half Japanese,
The Durutti Column,
Robert Görl,
the Germs,
Magazine,
Glenn Branca,
Excepter,
The Index,
Easy Going,
Public Enemy,
Anthony Braxton,
Ludus,
Absolute Body Control,
Ten City,
The Neon Judgement,
Von Mondo,
James Chance & The Contortions,
Danielle Patucci,
Erykah Badu,
Zapp,
The Toasters,
Khruangbin,
Bill Near,
Wire,
Lungfish,
Gian Franco Pienzio,
Pere Ubu,
Anakelly,
Kauko Röyhkä ja Narttu,
Morten Harket,
Sugar Minott,
Fort Wilson Riot,
Black Flag,
Marmalade,
Boz Scaggs,
Bootsy's Rubber Band,
The Invisible, The Invisible, The Invisible, The Invisible.
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.