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 Moldova and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 L. Decosne to the disco 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 Mo-Dettes. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Harry Pussy,
Mad Mike,
Jesper Dahlback,
Barclay James Harvest,
Eli Mardock,
Anakelly,
Kango’s Stein Massive,
Livin' Joy,
Sugar Minott,
June Days,
Schoolly D,
James White and The Blacks,
The Fugs,
The Modern Lovers,
Ludus,
Todd Rundgren,
Thinking Fellers Union Local 282,
David Axelrod,
Rotary Connection,
Cecil Taylor,
The Young Rascals,
Sandy B,
Tubeway Army,
The Stooges,
Major Organ And The Adding Machine,
Mars,
Metal Thangz,
The Standells,
Iggy Pop,
Little Man,
Youth Brigade,
Bobby Byrd,
Accadde A,
Todd Terry,
UT,
Bang On A Can,
Dead Boys,
Manfred Mann's Earth Band,
Radiopuhelimet,
Man Eating Sloth,
Justin Hinds & The Dominoes,
DJ Style,
Trumans Water,
Loose Ends,
Theoretical Girls,
John Coltrane,
Frankie Knuckles,
Liliput,
Magazine,
The Pop Group,
R.M.O.,
Nils Olav,
The Gories,
Symarip,
Gang Gang Dance,
Lungfish,
Drive Like Jehu,
Nirvana,
Echospace,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.