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 Vanuatu and from Portland.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 FM Einheit to the grime 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 Rakim. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Theoretical Girls 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Rakim,
Pantaleimon,
Lyres,
Davy DMX,
Manfred Mann's Earth Band,
The Move,
Neu!,
Ultra Naté,
Avey Tare & Kría Brekkan,
Dr. Dre and Snoop Doggy Dog,
ABBA,
MC5,
Underground Resistance,
Eli Mardock,
Country Joe & The Fish,
Wighnomy Brothers & Robag Wruhme,
China Crisis,
The Busters,
Jandek,
Scion,
Country Teasers,
Alison Limerick,
Masters at Work,
Peter and Kerry,
The Gories,
CMW,
Quantec,
The United States of America,
Chris & Cosey,
Faraquet,
Buzzcocks,
Roy Ayers,
The Beau Brummels,
Sister Nancy,
Deepchord,
Tubeway Army,
Liliput,
Red Lorry Yellow Lorry,
The Monks,
Oblivians,
Basic Channel,
Mark Hollis,
Bizarre Inc.,
The Royal Family And The Poor,
Soul Sonic Force,
Ituana,
Marshall Jefferson,
Mary Jane Girls,
Kenny Larkin,
Tomorrow,
The J.B.'s,
Sun City Girls,
the Sonics,
Kauko Röyhkä ja Narttu,
A Flock of Seagulls,
The Index,
Liaisons Dangereuses,
Black Flag,
Notorious BIG live in Amsterdam,
Minnie Riperton,
Skaos,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.