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 Eritrea and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Calgary 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 Lou Reed 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 Kevin Saunderson to the jazz kids.
I played it at the Hacienda.
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 Mad Mike. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Vogues 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Danielle Patucci,
Intrusion,
Moss Icon,
The Shadows of Knight,
Sexual Harrassment,
Mary Jane Girls,
The Last Poets,
the Sonics,
Rhythim Is Rhythim,
Curtis Mayfield,
Morten Harket,
Vainqueur,
Black Pus,
Cheater Slicks,
Massinfluence,
Peter and Kerry,
Roger Hodgson,
Barry Ungar,
Sonny Sharrock,
The Monks,
Franke,
Surgeon,
Kurtis Blow,
Chris & Cosey,
the Slits,
Neil Young,
Ultra Naté,
Fluxion,
the Normal,
Young Marble Giants,
Lower 48,
Can,
LL Cool J,
Kenny Larkin,
CMW,
Gary Puckett & The Union Gap,
Skriet,
Jeff Lynne,
Scientists,
Freddie Wadling,
New Age Steppers,
Prince Buster,
the Fania All-Stars,
Michelle Simonal,
Rahsaan Roland Kirk,
Isaac Hayes,
Brand Nubian,
The Move,
Pierre Henry,
Slave,
Dual Sessions,
Johnny Clarke,
Derrick May,
Siouxsie and the Banshees,
Agent Orange,
Terrestrial Tones,
Spandau Ballet,
Lou Reed,
Visionaries,LMNO, T- Love & Iriscience,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.