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 Solomon Islands and from Manila.
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 Lyon and Mexico City.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Bronski Beat to the rap kids.
I played it at Cafe Wha.
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 Sarah Menescal. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Joe Smooth,
Ash Ra Tempel,
Tom Boy,
Television,
The Gap Band,
Alison Limerick,
The Detroit Cobras,
ABC,
Colin Newman,
Circle Jerks,
Rod Modell,
John Foxx,
The Star Department,
Captain Beefheart & His Magic Band,
Fifty Foot Hose,
Rekid,
Dead Boys,
Unwound,
The Doobie Brothers,
Dark Day,
Barbara Tucker,
Scan 7,
D'Angelo,
Little Man,
Marcia Griffiths,
Masters at Work,
Tubeway Army,
Big Daddy Kane,
Jesper Dahlback,
Lungfish,
Animal Collective,
Hoover,
Pet Shop Boys,
Shoche,
Bizarre Inc.,
Q and Not U,
The Kinks,
Thompson Twins,
The Monks,
Ken Boothe,
Wally Richardson,
De La Soul & Jungle Brothers,
Boogie Down Productions,
The Red Krayola,
Unrelated Segments,
The Searchers,
Lee Hazlewood,
Minutemen,
Los Fastidios,
Andrew Ashong & Theo Parrish,
T. Rex,
The Mighty Diamonds,
The Martian,
MDC,
The Golliwogs,
Mary Jane Girls,
Whodini,
The Dave Clark Five,
Skriet,
Blossom Toes,
Agent Orange,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.