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 Bangladesh and from Edmonton.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1973.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Colin Newman to the electroclash kids.
I played it at the Troubador.
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 Public Image Ltd.. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
AZ,
Jerry's Kids,
the Human League,
Q65,
Jeff Mills,
Crash Course in Science,
Flipper,
Tropical Tobacco,
Ultra Naté,
Larry & the Blue Notes,
Fear,
Subhumans,
Radiohead,
Rhythm & Sound,
The Buckinghams,
Angry Samoans,
Eli Mardock,
Art Ensemble Of Chicago,
The Slits,
The Walker Brothers,
Brick,
Bronski Beat,
Tom Boy,
Black Sheep,
De La Soul & Jungle Brothers,
Barrington Levy,
Matthew Bourne,
Kerri Chandler,
Sound Behaviour,
Zero Boys,
Lou Christie,
Maurizio,
Judy Mowatt,
Cecil Taylor,
Tres Demented,
Rapeman,
the Sonics,
Pagans,
Drive Like Jehu,
Slave,
Fela Kuti,
Gong,
Throbbing Gristle,
Japan,
Anthony Braxton,
Richard Hell and the Voidoids,
E-Dancer,
Nick Fraelich,
Selector Dub Narcotic,
Jacques Brel,
Kings Of Tomorrow,
The Blues Magoos,
Yusef Lateef,
Ludus,
Easy Going,
Toni Rubio,
Lightning Bolt,
James White and The Blacks,
Piero Umiliani,
Donny Hathaway,
Terror Squad Feat. Camron,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.