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 Palau and from London.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Glasgow 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 Thee Headcoats to the punk 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 Jesper Dahlbäck. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Urselle,
the Association,
Crash Course in Science,
The Gap Band,
Peter and Kerry,
Bootsy Collins,
Ultramagnetic MC's,
Notorious Big And Bone Thugs,
Banda Bassotti,
The Birthday Party,
The Trojans,
U.S. Maple,
Dr. Dre and Snoop Doggy Dog,
Gil Scott-Heron and Jamie xx,
Hashim,
John Foxx,
The Last Poets,
Archie Shepp,
Amazonics,
The Doors,
The Fugs,
Beasts of Bourbon,
Con Funk Shun,
The Blackbyrds,
The Mummies,
Sarah Menescal,
Selector Dub Narcotic,
DJ Sneak,
Severed Heads,
The Gladiators,
Yusef Lateef,
Underground Resistance,
Girls At Our Best!,
Desert Stars,
Lou Reed,
Y Pants,
James Chance & The Contortions,
Mars,
Tropical Tobacco,
The Doobie Brothers,
New York Dolls,
Sticky Fingaz feat. Raekwon,
Gong,
Junior Murvin,
Smog,
The Buckinghams,
The Sound,
Aswad,
Suicide,
Wasted Youth,
The Vogues,
Pussy Galore,
Aloha Tigers,
Newcleus,
Monks,
Fort Wilson Riot,
K-Klass,
Rhythm & Sound,
Scan 7,
Electric Prunes,
The Selecter,
Dark Day,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.