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 Uganda and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Edmonton 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 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 Oneida to the crunk 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 Arthur Verocai. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every This Heat 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Gian Franco Pienzio,
Niagra,
Kas Product,
a-ha,
Fort Wilson Riot,
Das Ding,
Bootsy's Rubber Band,
Letta Mbulu,
Röyhkä ja Rättö ja Lehtisalo,
Spandau Ballet,
Susan Cadogan,
Gary Puckett & The Union Gap,
Banda Bassotti,
Maleditus Sound,
Quantec,
Tomorrow,
Sandy B,
Roger Hodgson,
the Fania All-Stars,
Bobby Womack,
Public Enemy,
AZ,
New Age Steppers,
Monolake,
Little Man,
Arthur Verocai,
Graham Central Station,
Ronnie Foster,
Alison Limerick,
Guru Guru,
Sexual Harrassment,
The Index,
The Slackers,
MDC,
Barrington Levy,
Young Marble Giants,
Lebanon Hanover,
Sad Lovers and Giants,
Brass Construction,
Metal Thangz,
Monks,
Al Stewart,
Yellowson,
Marc Almond,
Terry Callier,
Tim Buckley,
Lightning Bolt,
Wighnomy Brothers & Robag Wruhme,
Fluxion,
Panda Bear,
Todd Rundgren,
Marmalade,
James Chance & The Contortions,
Adolescents,
Boredoms,
DeepChord presents Echospace,
Echo & the Bunnymen,
Louis and Bebe Barron,
The Walker Brothers,
Pole, Pole, Pole, Pole.
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.