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 Liberia and from Beijing.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Delhi 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 organ 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 Peanut Butter Conspiracy to the rap kids.
I played it at the 40 Watt.
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 Gang Starr. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Kevin Saunderson 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 '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Blake Baxter,
Black Moon,
Barclay James Harvest,
Scott Walker,
The Count Five,
Andrew Hill,
Lebanon Hanover,
The Gories,
Boogie Down Productions,
Circle Jerks,
Reuben Wilson,
Idris Muhammad,
Manfred Mann's Earth Band,
Banda Bassotti,
The Music Machine,
Thompson Twins,
Faraquet,
Notorious BIG live in Amsterdam,
The Monochrome Set,
Neu!,
These Immortal Souls,
The American Breed,
Electric Prunes,
Half Japanese,
Anthony Braxton,
Johnny Osbourne,
Rhythm & Sound,
Loose Ends,
Bobby Womack,
Rahsaan Roland Kirk,
Glambeats Corp.,
Quadrant,
L. Decosne,
Freddie Wadling,
Glenn Branca,
Patti Smith,
Boz Scaggs,
The Techniques,
Dawn Penn,
Avey Tare & Kría Brekkan,
Con Funk Shun,
Kerri Chandler,
Brick,
Duran Duran,
Blossom Toes,
Major Organ And The Adding Machine,
FM Einheit,
Josef K,
Angels of Light & Akron/Family,
Marshall Jefferson,
Procol Harum,
Matthew Bourne,
Visionaries,LMNO, T- Love & Iriscience,
Agent Orange,
Alison Limerick,
Rapeman,
Fear,
The Zeros,
Rakim, Rakim, Rakim, 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.