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 Portugal and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Sandy B to the dance kids.
I played it at Trash.
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 Parry Music. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
X-101,
T. Rex,
Rod Modell,
Country Teasers,
Gichy Dan,
Susan Cadogan,
The Dave Clark Five,
New York Dolls,
Eli Mardock,
Albert Ayler,
The Sound,
The Saints,
Accadde A,
Gian Franco Pienzio,
Amon Düül,
Electric Light Orchestra,
Heaven 17,
The Flesh Eaters,
Janne Schatter,
De La Soul & Jungle Brothers,
Camouflage,
Unwound,
Tubeway Army,
Godley & Creme,
Public Enemy,
The Music Machine,
the Association,
Scott Walker,
Hashim,
Rapeman,
Super Lover Cee & Casanova Rud,
Y Pants,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythim Is Rhythim,
Outsiders,
Peter Gordon & Love of Life Orchestra,
Bootsy Collins,
The Buckinghams,
Strawberry Alarm Clock,
Cybotron,
MC5,
Pere Ubu,
48th St. Collective,
The Cure,
Sugar Minott,
Sparks,
The Jesus and Mary Chain,
Liaisons Dangereuses,
The Men They Couldn't Hang,
Bobby Womack,
Minnie Riperton,
Grandmaster Flash,
Sight & Sound,
Half Japanese,
Darondo,
Angry Samoans,
Marcia Griffiths,
The Slits,
Sun City Girls,
Moebius,
Bluetip, Bluetip, Bluetip, Bluetip.
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.