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 Ghana and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Toronto 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 Tom Verlaine 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 Smiths to the punk 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 Crash Course in Science. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Dennis Brown 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Drive Like Jehu,
Porter Ricks,
Avey Tare's Slasher Flicks,
Robert Hood,
Sandy B,
Frankie Knuckles,
Bootsy's Rubber Band,
Shuggie Otis,
T.S.O.L.,
The Detroit Cobras,
Sexual Harrassment,
Joe Smooth,
Kurtis Blow,
Bronski Beat,
Matthew Bourne,
Black Sheep,
Heavy D & The Boyz,
The Doors,
Rahsaan Roland Kirk,
Crash Course in Science,
Black Moon,
Josef K,
Nas,
Motorama,
Soul II Soul,
The Moody Blues,
Oppenheimer Analysis,
The Residents,
Saccharine Trust,
Fear,
John Foxx,
Amon Düül II,
Danielle Patucci,
Art Ensemble Of Chicago,
Tommy Roe,
Icehouse,
Dual Sessions,
The Jesus and Mary Chain,
Vainqueur,
Trumans Water,
Flipper,
Man Parrish,
Monolake,
The Fall,
Hashim,
Dawn Penn,
AZ,
Barrington Levy,
The Remains,
The Cowsills,
Gabor Szabo,
Pagans,
Animal Collective,
Cybotron,
Deepchord,
Marc Romboy vs. Booka Shade,
Technova,
Siouxsie and the Banshees,
Bang on a Can All-Stars,
The United States of America, The United States of America, The United States of America, The United States of America.
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.