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 Angola and from Tehran.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Bad Manners to the funk 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 Spoonie Gee. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Peter and Kerry 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 '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Altered Images,
Ossler,
Eric B and Rakim,
Subhumans,
Thee Headcoats,
the Swans,
Jawbox,
Bobby Womack,
The Electric Prunes,
Supertramp,
The Modern Lovers,
Grauzone,
Ronan,
Sällskapet,
Man Parrish,
The Monochrome Set,
Fela Kuti,
Y Pants,
The Royal Family And The Poor,
Skaos,
Sun City Girls,
Bang On A Can,
Oblivians,
Circle Jerks,
The J.B.'s,
X-102,
Masters at Work,
The United States of America,
Deutsch Amerikanische Freundschaft,
Ultravox,
Ultramagnetic MC's,
Graham Central Station,
Magma,
Television Personalities,
Robert Hood,
Saccharine Trust,
Crispian St. Peters,
Massinfluence,
Babytalk,
Popol Vuh,
Model 500,
Oppenheimer Analysis,
Icehouse,
Echo & the Bunnymen,
The Dead C,
Radiopuhelimet,
Arthur Verocai,
Con Funk Shun,
The Techniques,
Sex Pistols,
Mary Jane Girls,
Clear Light,
Bill Near,
Smog,
Liliput,
Andrew Hill,
Scientists,
Camberwell Now,
Roy Ayers Ubiquity,
Funkadelic,
Steve Hackett,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.