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 Tanzania and from Bologna.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Ten City to the rock 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 Agent Orange. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal dance 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 a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Bluetip,
Crispian St. Peters,
Alice Coltrane,
China Crisis,
The Evens,
The United States of America,
Jandek,
The Skatalites,
The Dirtbombs,
Arab on Radar,
Camouflage,
Fela Kuti,
Aural Exciters,
Godley & Creme,
The Jesus and Mary Chain,
Angry Samoans,
LL Cool J,
The Human League,
Matthew Halsall,
Glambeats Corp.,
Bush Tetras,
The Motions,
Man Parrish,
Max Romeo,
The Peanut Butter Conspiracy,
Siouxsie and the Banshees,
Strawberry Alarm Clock,
Nick Fraelich,
Pagans,
The Young Rascals,
Soul Sonic Force,
D'Angelo,
Jeff Mills,
Johnny Osbourne,
Schoolly D,
Juan Atkins,
Pantaleimon,
Jeff Lynne,
Suicide,
Avey Tare & Kría Brekkan,
Pharoah Sanders,
Sad Lovers and Giants,
DJ Sneak,
Rhythim Is Rhythim,
Piero Umiliani,
Johnny Clarke,
Gichy Dan,
Mary Jane Girls,
Aswad,
Kings Of Tomorrow,
Jerry's Kids,
Rekid,
Gary Puckett & The Union Gap,
Reagan Youth,
Richard Hell and the Voidoids,
Public Image Ltd.,
Vladislav Delay,
Bang On A Can,
Underground Resistance,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.