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 Jamaica and from Accra.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Houston and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Nik Kershaw to the disco kids.
I played it at Cafe Wha.
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 Lucky Dragons. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every The Cure 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Brick,
Marc Almond,
Animal Collective,
Symarip,
Magazine,
The Pop Group,
Arab on Radar,
Average White Band,
Goldenarms,
Maleditus Sound,
Dual Sessions,
Public Enemy,
Simply Red,
Public Image Ltd.,
cv313,
Avey Tare's Slasher Flicks,
Q and Not U,
Lalo Schifrin,
Nico,
The Victims,
Andrew Ashong & Theo Parrish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sound Behaviour,
London Community Gospel Choir,
Barclay James Harvest,
Franke,
Angry Samoans,
Marshall Jefferson,
It's A Beautiful Day,
Tres Demented,
Bobbi Humphrey,
The Buckinghams,
KRS-One,
Minny Pops,
Graham Central Station,
Royal Trux,
The Selecter,
The Sound,
Hoover,
Mantronix,
Barbara Tucker,
48th St. Collective,
Desert Stars,
Joe Smooth,
The Gladiators,
Eyeless In Gaza,
Cal Tjader,
the Normal,
The Monks,
Sarah Menescal,
Ken Boothe,
Sexual Harrassment,
Larry & the Blue Notes,
Lindisfarne,
AZ,
The Stooges,
Electric Prunes,
Bootsy's Rubber Band,
Thinking Fellers Union Local 282,
DeepChord presents Echospace,
F. McDonald,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.