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 Finland and from London.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Lille 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 KRS-One to the rock kids.
I played it at Cafe Wha.
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 Fifty Foot Hose. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Banda Bassotti,
Sparks,
cv313,
The Beau Brummels,
Vladislav Delay,
Can,
Moby Grape,
Reuben Wilson,
Shoche,
Chris Corsano,
Andrew Hill,
The Skatalites,
Crash Course in Science,
CMW,
Derrick Morgan,
The J.B.'s,
Pere Ubu,
Letta Mbulu,
The Men They Couldn't Hang,
Brick,
The Barracudas,
Robert Hood,
The Sonics,
Stereo Dub,
The Flesh Eaters,
Minnie Riperton,
The Detroit Cobras,
Man Parrish,
Lebanon Hanover,
Ajijia Myrayebe,
K-Klass,
Angels of Light & Akron/Family,
Royal Trux,
Alison Limerick,
Television,
Lower 48,
Flash Fearless,
Moss Icon,
Buzzcocks,
Dave Gahan,
Deepchord,
Isaac Hayes,
Laurel Aitken,
The Gun Club,
T.S.O.L.,
Metal Thangz,
A Flock of Seagulls,
Dawn Penn,
Roy Ayers,
Camberwell Now,
Bang on a Can All-Stars,
Peter & Gordon,
Motorama,
Donald Byrd,
Bizarre Inc.,
Hardrive,
Roger Hodgson,
Lightning Bolt,
Blancmange,
Echospace,
Scientists, Scientists, Scientists, Scientists.
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.