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 Swaziland and from Mumbai.
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 Tokyo and Lille.
I'm losing my edge to the art-school Accra 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Kinks to the jazz kids.
I played it at the Crocodile.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
The Red Krayola,
Section 25,
Neu!,
Pere Ubu,
Justin Hinds & The Dominoes,
The Jesus and Mary Chain,
Buzzcocks,
China Crisis,
Frankie Knuckles,
Eric Dolphy,
The Gories,
DeepChord presents Echospace,
Basic Channel,
Nick Cave & The Bad Seeds,
Sly & The Family Stone,
Crime,
the Slits,
Masters at Work,
Rod Modell,
EPMD,
Delta 5,
The Cure,
Marmalade,
David Axelrod,
The Doors,
Angry Samoans,
Pylon,
Gian Franco Pienzio,
Leonard Cohen,
Gil Scott-Heron and Jamie xx,
Black Pus,
Camberwell Now,
Porter Ricks,
Fifty Foot Hose,
Dorothy Ashby,
Ralphi Rosario,
Supertramp,
Absolute Body Control,
Clear Light,
KRS-One,
Shoche,
DNA,
Gabor Szabo,
Louis and Bebe Barron,
Metal Thangz,
Soul II Soul,
Joyce Sims,
Kool G Rap & DJ Polo,
Country Joe & The Fish,
ABC,
Alice Coltrane,
the Fania All-Stars,
The Beau Brummels,
The Flesh Eaters,
Lee Hazlewood,
Sparks,
Sound Behaviour,
Model 500,
Avey Tare's Slasher Flicks,
Gang Green,
Soft Machine,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.