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 Morocco and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Salvador and Johannesburg.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 the Association to the grunge 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 Mary Jane Girls. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal funk 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
The Monochrome Set,
It's A Beautiful Day,
48th St. Collective,
Eli Mardock,
John Foxx,
Oppenheimer Analysis,
Lebanon Hanover,
Joe Finger,
Gang Green,
X-101,
Shoche,
De La Soul & Jungle Brothers,
Infiniti,
Scan 7,
The Sound,
Harmonia,
Traffic Nightmare,
Kayak,
Lee Hazlewood,
LL Cool J,
T. Rex,
Goldenarms,
Chris Corsano,
The Vogues,
Mark Hollis,
Cabaret Voltaire,
Sad Lovers and Giants,
Black Sheep,
Bobby Hutcherson,
Rhythim Is Rhythim,
The Leaves,
Flamin' Groovies,
Terry Callier,
Lakeside,
Urselle,
Freddie Wadling,
Unwound,
Monolake,
The Kinks,
Iggy Pop,
Minny Pops,
Jerry's Kids,
Blossom Toes,
John Cale,
Wire,
Pete Rock & C.L. Smooth,
Zapp,
the Germs,
Accadde A,
Larry & the Blue Notes,
Alice Coltrane,
Susan Cadogan,
T.S.O.L.,
Avey Tare's Slasher Flicks,
the Human League,
Scrapy,
Delon & Dalcan,
The Smoke,
Yusef Lateef,
MDC,
The American Breed,
Pharaoh Sanders and the Fire Engines,
The Residents, The Residents, The Residents, The Residents.
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.