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 Tunisia and from Woodstock.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Manchester 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 güiro 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 Vainqueur to the punk 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 The Remains. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
The Wake,
Yazoo,
Can,
Grandmaster Flash,
Idris Muhammad,
Eden Ahbez,
DeepChord presents Echospace,
Stetsasonic,
Eric B and Rakim,
Teenage Jesus and the Jerks,
Terror Squad Feat. Camron,
Mr. Review,
Susan Cadogan,
Bronski Beat,
Brothers Johnson,
Make Up,
Barclay James Harvest,
the Swans,
Smog,
Tommy Roe,
Lee Hazlewood,
Cymande,
Siglo XX,
Sad Lovers and Giants,
Al Stewart,
Red Lorry Yellow Lorry,
Rakim,
Flipper,
The Music Machine,
Gong,
Cluster,
Freddie Wadling,
The Birthday Party,
Bobby Sherman,
Flash Fearless,
Kerri Chandler,
Glenn Branca,
Shoche,
Gerry Rafferty,
Terrestrial Tones,
The Raincoats,
Frankie Knuckles,
Juan Atkins,
R.M.O.,
Rufus Thomas,
Neil Young,
Thinking Fellers Union Local 282,
Robert Hood,
Ash Ra Tempel,
Zero Boys,
Aaron Thompson,
Graham Central Station,
The Durutti Column,
Bizarre Inc.,
Crash Course in Science,
Jeru the Damaja,
The Beau Brummels,
The Doors,
Angry Samoans,
Tears for Fears,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.