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 Norway and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Columbus and Lagos.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Hardrive to the rap kids.
I played it at the Roxy.
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 Susan Cadogan. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Roy Ayers 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Electric Light Orchestra,
Hardrive,
Terrestrial Tones,
Girls At Our Best!,
Josef K,
Brand Nubian,
Organ,
Drexciya,
Slick Rick,
Funky Four + One,
E-Dancer,
Lindisfarne,
Kenny Larkin,
Section 25,
Buzzcocks,
48th St. Collective,
Black Bananas,
Beasts of Bourbon,
Red Lorry Yellow Lorry,
Curtis Mayfield,
Iggy Pop,
Bluetip,
Pharoah Sanders,
The Monks,
Bob Dylan,
The Remains,
Eric Dolphy,
Glambeats Corp.,
Gabor Szabo,
Jerry's Kids,
Malaria!,
Bauhaus,
Groovy Waters,
Sight & Sound,
Porter Ricks,
8 Eyed Spy,
Oppenheimer Analysis,
Spoonie Gee,
Reuben Wilson,
Connie Case,
X-102,
Tubeway Army,
Lalann,
The American Breed,
R.M.O.,
Robert Görl,
Urselle,
Amazonics,
Main Source,
Motorama,
Monks,
Susan Cadogan,
Trumans Water,
Gichy Dan,
Los Fastidios,
Crispian St. Peters,
The Detroit Cobras,
Bronski Beat,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.