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 United Kingdom and from Glasgow.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Houston 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 Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Pulsallama to the funk kids.
I played it at the 40 Watt.
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 The Cramps. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
the Swans,
Jesper Dahlbäck,
Liaisons Dangereuses,
A Flock of Seagulls,
Johnny Osbourne,
Marine Girls,
Soft Machine,
The Cosmic Jokers,
Fatback Band,
The Blackbyrds,
The Martian,
Art Ensemble Of Chicago,
DJ Sneak,
The Beau Brummels,
Schoolly D,
Radiopuhelimet,
Visage,
Flipper,
Deadbeat,
The Zeros,
JFA,
Arcadia,
Mark Hollis,
Cameo,
Bronski Beat,
Japan,
Gil Scott-Heron and Jamie xx,
Brick,
a-ha,
The Jesus and Mary Chain,
ABBA,
The Real Kids,
Bill Near,
Janne Schatter,
Television Personalities,
Terrestrial Tones,
Rhythim Is Rhythim,
Darondo,
Subhumans,
Joe Smooth,
Glenn Branca,
DJ Style,
Deutsch Amerikanische Freundschaft,
The Smiths,
Q and Not U,
Chris Corsano,
the Slits,
Sällskapet,
Excepter,
Monolake,
Ludus,
Bobbi Humphrey,
Popol Vuh,
Leonard Cohen,
Kerri Chandler,
Traffic Nightmare,
Danielle Patucci,
Byron Stingily,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.