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 Switzerland and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Columbus 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 Robert Palmer 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 Ronan to the disco kids.
I played it at CBGB's.
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 Pantytec. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Beasts of Bourbon,
Pere Ubu,
Banda Bassotti,
Dead Boys,
The Kinks,
Tubeway Army,
Intrusion,
Section 25,
Quadrant,
The Selecter,
Notorious Big And Bone Thugs,
Sparks,
Man Parrish,
Richard Hell and the Voidoids,
The Dave Clark Five,
Trumans Water,
Tommy Roe,
Half Japanese,
Chrome,
LL Cool J,
Jandek,
Animal Collective,
Q and Not U,
Negative Approach,
The West Coast Pop Art Experimental Band,
Kango’s Stein Massive,
Los Fastidios,
Don Cherry,
Fear,
The Litter,
The Birthday Party,
The Toasters,
Porter Ricks,
Unrelated Segments,
Urselle,
Minny Pops,
The Busters,
Make Up,
June of 44,
AZ,
Skarface,
Y Pants,
Monolake,
Avey Tare's Slasher Flicks,
Radio Birdman,
Lou Reed & Metallica,
Grauzone,
Alison Limerick,
Kerrie Biddell,
Pierre Henry,
Rowland S Howard / Lydia Lunch,
Stiv Bators,
Robert Görl,
The Stooges,
Livin' Joy,
Harry Pussy,
Dorothy Ashby,
Q65,
Brass Construction,
One Last Wish,
Pete Rock & C.L. Smooth,
The Star Department,
The Residents, The Residents, The Residents, The Residents.
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.