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 Macedonia and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Salvador 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 marimba 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 Rakim to the techno kids.
I played it at the Roxy.
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 Nik Kershaw. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
The Real Kids,
Essential Logic,
Laurel Aitken,
Janne Schatter,
Country Teasers,
Curtis Mayfield,
Black Pus,
New Age Steppers,
Country Joe & The Fish,
Lightning Bolt,
The Velvet Underground,
Electric Light Orchestra,
Fatback Band,
FM Einheit,
Minor Threat,
Big Daddy Kane,
Cluster,
Donny Hathaway,
The Black Dice,
The Toasters,
Beasts of Bourbon,
the Fania All-Stars,
Roy Ayers Ubiquity,
Johnny Clarke,
Echo & the Bunnymen,
Jacques Brel,
Traffic Nightmare,
T.S.O.L.,
Scott Walker,
Ponytail,
Yaz,
a-ha,
Bobby Sherman,
Royal Trux,
The Busters,
Nation of Ulysses,
Public Enemy,
Isaac Hayes,
The Fire Engines,
Kayak,
Fat Boys,
Ralphi Rosario,
Smog,
the Normal,
Roger Hodgson,
Ossler,
The Neon Judgement,
The Selecter,
Albert Ayler,
Matthew Halsall,
The Gories,
Sam Rivers,
Iggy Pop,
Deakin,
The Remains,
Gregory Isaacs,
Ohio Players,
The Cure,
Sexual Harrassment,
Visionaries,LMNO, T- Love & Iriscience,
The J.B.'s,
Outsiders, Outsiders, Outsiders, Outsiders.
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.