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 Ethiopia and from Bremen.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Tokyo 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 theremin 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 The Martian to the dance 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 the Sonics. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Little Man,
Adolescents,
the Fania All-Stars,
The Mummies,
Al Stewart,
Scientists,
Average White Band,
The Real Kids,
These Immortal Souls,
Sam Rivers,
Tropical Tobacco,
Junior Murvin,
Mark Hollis,
Warsaw,
Captain Beefheart & His Magic Band,
Johnny Osbourne,
Whodini,
Brothers Johnson,
Archie Shepp,
World's Most,
Graham Central Station,
Massinfluence,
Silicon Teens,
Inner City,
The Chocolate Watch Band,
Steve Hackett,
James Chance & The Contortions,
Eli Mardock,
Darondo,
Robert Wyatt,
Maurizio,
The Searchers,
The Fire Engines,
Johnny Clarke,
Sad Lovers and Giants,
48th St. Collective,
Monolake,
Wings,
The Birthday Party,
ABBA,
Harpers Bizarre,
JFA,
The Move,
Oblivians,
L. Decosne,
Royal Trux,
Derrick Morgan,
Gary Puckett & The Union Gap,
Eurythmics,
Glenn Branca,
The Last Poets,
the Germs,
DeepChord presents Echospace,
Avey Tare & Kría Brekkan,
Lee Hazlewood,
Dave Gahan,
Sex Pistols,
Amon Düül II,
June Days,
The Moleskins,
Erasure,
The Toasters, The Toasters, The Toasters, The Toasters.
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.