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 Equatorial Guinea and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Joyce Sims to the disco kids.
I played it at the Astoria.
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 Glenn Branca. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Erykah Badu,
Dual Sessions,
Bizarre Inc.,
Barrington Levy,
Brand Nubian,
the Bar-Kays,
Peter and Kerry,
The Moleskins,
Symarip,
T. Rex,
CMW,
Lungfish,
Joe Finger,
Heaven 17,
Crime,
Spoonie Gee,
Little Man,
Infiniti,
Rod Modell,
Louis and Bebe Barron,
Röyhkä ja Rättö ja Lehtisalo,
Kenny Larkin,
DNA,
Byron Stingily,
the Sonics,
Super Lover Cee & Casanova Rud,
Camberwell Now,
Quadrant,
Ajijia Myrayebe,
Swell Maps,
Roy Ayers Ubiquity,
The Gladiators,
Von Mondo,
Bad Manners,
Interpol,
Blossom Toes,
The Detroit Cobras,
The Neon Judgement,
the Swans,
Q65,
Flipper,
Grandmaster Flash and the Furious Five,
The Fortunes,
Ken Boothe,
Pantaleimon,
Todd Rundgren,
The Grass Roots,
The Jesus and Mary Chain,
D'Angelo,
The Wake,
Selector Dub Narcotic,
Nation of Ulysses,
Pharoah Sanders,
Junior Murvin,
Marshall Jefferson,
The Martian,
Liliput,
Parry Music,
Yellowson,
Chris Corsano,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.