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 Tuvalu and from Mexico City.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Pharaoh Sanders and the Fire Engines to the funk kids.
I played it at the Troubador.
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 Youth Brigade. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Spandau Ballet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Larry & the Blue Notes,
The Buckinghams,
The Dead C,
Brick,
Barrington Levy,
Thompson Twins,
Swans,
Section 25,
Public Image Ltd.,
Lindisfarne,
Ash Ra Tempel,
Drive Like Jehu,
Arcadia,
Roxy Music,
Marcia Griffiths,
Underground Resistance,
The Alarm Clocks,
Boredoms,
Gerry Rafferty,
Vaughan Mason & Crew,
Kool G Rap & DJ Polo,
Cal Tjader,
Minutemen,
La Düsseldorf,
Isaac Hayes,
Surgeon,
Sonic Youth,
Byron Stingily,
Glenn Branca,
Gil Scott Heron,
Gichy Dan,
The Monks,
Bootsy Collins,
Fat Boys,
The Motions,
Peter and Kerry,
DeepChord presents Echospace,
Stockholm Monsters,
Lungfish,
Sunsets and Hearts,
Jerry Gold Smith,
Oppenheimer Analysis,
Juan Atkins,
The Misunderstood,
The Residents,
Scott Walker,
The Smoke,
Rites of Spring,
Danielle Patucci,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
June of 44,
Bang On A Can,
Cheater Slicks,
Alison Limerick,
UT,
Rod Modell,
The Remains, The Remains, The Remains, The Remains.
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.