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 Hungary and from Madrid.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
I'm losing my edge to the art-school Philadelphia 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 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 Eric Dolphy to the jazz kids.
I played it at the Crocodile.
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 Martian. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Minny Pops 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Nick Fraelich,
Urselle,
Kas Product,
Soul Sonic Force,
Super Lover Cee & Casanova Rud,
Barrington Levy,
Dave Gahan,
Orchestral Manoeuvres in the Dark,
Buzzcocks,
Gabor Szabo,
Nirvana,
Minor Threat,
Liliput,
The Standells,
Al Stewart,
Funky Four + One,
Fear,
Soulsonic Force,
June Days,
David Axelrod,
Sällskapet,
Captain Beefheart & His Magic Band,
Letta Mbulu,
Magma,
Jerry Gold Smith,
Barclay James Harvest,
Outsiders,
Eurythmics,
Jesper Dahlbäck,
The Pop Group,
Pagans,
Avey Tare,
Sound Behaviour,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Sherman,
New York Dolls,
Selector Dub Narcotic,
Johnny Clarke,
Hardrive,
Lonnie Liston Smith,
kango's stein massive,
Ash Ra Tempel,
The American Breed,
Los Fastidios,
Deadbeat,
Marmalade,
The Monochrome Set,
Visionaries,LMNO, T- Love & Iriscience,
Kerri Chandler,
DJ Sneak,
Quadrant,
Colin Newman,
Make Up,
Heavy D & The Boyz,
The United States of America,
The Beau Brummels,
MC5,
Fugazi, Fugazi, Fugazi, Fugazi.
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.