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 Malawi and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Halifax and Cairo.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 The Move to the crunk kids.
I played it at CBGB's.
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 Man Eating Sloth. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Jeff Lynne 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Lalann,
Avey Tare's Slasher Flicks,
The New Christs,
Eve St. Jones,
Fatback Band,
Black Bananas,
Subhumans,
Kurtis Blow,
Marshall Jefferson,
Shoche,
The Real Kids,
Duran Duran,
Royal Trux,
The Royal Family And The Poor,
Jandek,
Talk Talk,
Boredoms,
Popol Vuh,
Groovy Waters,
Barry Ungar,
The Cramps,
Idris Muhammad,
Selector Dub Narcotic,
Althea and Donna,
Camron Feat. Memphis Bleek And Beenie Seigel,
Moss Icon,
Ituana,
Ralphi Rosario,
Ronnie Foster,
Dual Sessions,
Livin' Joy,
Television,
Desert Stars,
H. Thieme,
Half Japanese,
Flash Fearless,
T. Rex,
Crooked Eye,
Drive Like Jehu,
The Doobie Brothers,
the Normal,
Nas,
Sticky Fingaz feat. Raekwon,
John Lydon,
David McCallum,
The Jesus and Mary Chain,
Sun Ra,
Ossler,
Bronski Beat,
Andrew Ashong & Theo Parrish,
Matthew Bourne,
Albert Ayler,
Gong,
Judy Mowatt,
Chris & Cosey,
Letta Mbulu,
Barrington Levy,
Minny Pops,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.