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 Malawi and from Houston.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 snare sounds with much patience.
I was there when Robert Palmer 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 Heaven 17 to the dance kids.
I played it at the Crocodile.
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 Ultramagnetic MC's. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Niagra,
The Standells,
Traffic Nightmare,
Scan 7,
Glambeats Corp.,
Lou Reed & John Cale,
James Chance & The Contortions,
DNA,
June of 44,
Marine Girls,
Yellowson,
Suburban Knight,
A Certain Ratio,
Grauzone,
John Coltrane,
Notorious Big And Bone Thugs,
Warsaw,
Todd Terry,
Minnie Riperton,
The Knickerbockers,
Joensuu 1685,
Model 500,
Tomorrow,
Reuben Wilson,
Basic Channel,
Drive Like Jehu,
Sad Lovers and Giants,
Popol Vuh,
Curtis Mayfield,
The Wake,
Kas Product,
Camberwell Now,
Brick,
a-ha,
Deadbeat,
Darondo,
T.S.O.L.,
Rites of Spring,
The Pop Group,
The Sonics,
Max Romeo,
The Gap Band,
Monolake,
Sticky Fingaz feat. Raekwon,
Bill Near,
Rapeman,
Soulsonic Force,
Rosa Yemen,
Lou Reed,
The Peanut Butter Conspiracy,
Barbara Tucker,
Johnny Clarke,
Crash Course in Science,
The Real Kids,
Kool Moe Dee,
Chris Corsano,
48th St. Collective,
Bizarre Inc.,
Sunsets and Hearts,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.