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 Cape Verde and from Tokyo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Masters at Work to the punk 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 Lindisfarne. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every MC5 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 '50s 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 Big Daddy Kane record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
The Blues Magoos,
Bobby Womack,
Cabaret Voltaire,
Kevin Saunderson,
Tears for Fears,
Pagans,
Jacob Miller,
Ken Boothe,
Basic Channel,
Agitation Free,
Mars,
Connie Case,
Ralphi Rosario,
Marc Almond,
Hashim,
Hot Snakes,
Tim Buckley,
Peter & Gordon,
Sarah Menescal,
PIL,
Lonnie Liston Smith,
The Fortunes,
Radiopuhelimet,
John Coltrane,
Dennis Brown,
Letta Mbulu,
Jimmy McGriff,
Eric Copeland,
Barry Ungar,
Lizzy Mercier Descloux,
Tommy Roe,
Unrelated Segments,
Monks,
Toni Rubio,
Scan 7,
Dorothy Ashby,
The Black Dice,
Unwound,
The Saints,
Arab on Radar,
Judy Mowatt,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eric Dolphy,
Delon & Dalcan,
The Smiths,
Amon Düül II,
Throbbing Gristle,
CMW,
Vainqueur,
Los Fastidios,
Brand Nubian,
New Age Steppers,
Yellowson,
Notorious BIG live in Amsterdam,
Sugar Minott,
Soul II Soul,
Black Bananas,
Lee Hazlewood,
Bush Tetras,
Joe Smooth,
Roxette,
The Stooges,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.