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 Cambodia and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1976.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Tehran 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 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 Todd Rundgren to the electroclash kids.
I played it at the Spitz.
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 Ultimate Spinach. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Donald Byrd,
Sarah Menescal,
Eyeless In Gaza,
Marmalade,
ABC,
K-Klass,
Aloha Tigers,
The Moody Blues,
Nirvana,
Accadde A,
Vladislav Delay,
Eddi Front,
Isaac Hayes,
T. Rex,
Essential Logic,
New Order,
Public Image Ltd.,
Neil Young & Crazy Horse,
Radiopuhelimet,
The Tremeloes,
The Sound,
Toni Rubio,
Ronan,
Harry Pussy,
Avey Tare's Slasher Flicks,
Unrelated Segments,
Easy Going,
The Red Krayola,
Aswad,
The Fuzztones,
Eric B and Rakim,
Gregory Isaacs,
Groovy Waters,
Dorothy Ashby,
Arthur Verocai,
New York Dolls,
Spandau Ballet,
Davy DMX,
Slave,
AZ,
The Remains,
Fear,
Lizzy Mercier Descloux,
Amon Düül II,
Curtis Mayfield,
Yellowson,
Glambeats Corp.,
Nico,
X-102,
The Stooges,
Anakelly,
Marine Girls,
Ornette Coleman,
The Flesh Eaters,
Ajijia Myrayebe,
Delon & Dalcan,
Gastr Del Sol,
Harmonia,
Echospace,
China Crisis,
The Leaves,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.