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 Ghana and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Lucky Dragons to the funk kids.
I played it at the Spitz.
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 Neil Young. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Ponytail 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Dave Gahan,
Porter Ricks,
Beasts of Bourbon,
JFA,
Marc Almond,
Eddi Front,
Max Romeo,
Bobbi Humphrey,
The Fortunes,
Boredoms,
Bizarre Inc.,
Panda Bear,
Bill Near,
Mad Mike,
The Blackbyrds,
Robert Hood,
The Gap Band,
Brick,
Dorothy Ashby,
The Buckinghams,
Patti Smith,
Cybotron,
The United States of America,
the Slits,
Wally Richardson,
Lightning Bolt,
Parry Music,
The Alarm Clocks,
Gil Scott-Heron & Brian Jackson,
Minnie Riperton,
Byron Stingily,
Eric Dolphy,
Gang Starr,
Delon & Dalcan,
Robert Wyatt,
Avey Tare & Kría Brekkan,
Television Personalities,
The Last Poets,
Shuggie Otis,
Marine Girls,
Alton Ellis,
The Flesh Eaters,
Sparks,
Juan Atkins,
Peter & Gordon,
Smog,
Q65,
10cc,
In Retrospect,
Delta 5,
The Mummies,
Throbbing Gristle,
The Happenings,
Pole,
Louis and Bebe Barron,
Avey Tare's Slasher Flicks,
Sex Pistols,
Glenn Branca,
Yazoo,
Dual Sessions,
Sound Behaviour,
Vaughan Mason & Crew,
Art Ensemble Of Chicago,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.