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 Moldova and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Beijing 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 snare sounds with much patience.
I was there when Lou Reed 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 Pere Ubu to the jazz kids.
I played it at the Astoria.
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 Brass Construction. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Mark Hollis 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Massinfluence,
Jesper Dahlbäck,
the Bar-Kays,
DNA,
The Index,
The Detroit Cobras,
Public Image Ltd.,
The Gladiators,
DJ Sneak,
Moss Icon,
Minutemen,
Scion,
Swell Maps,
Brothers Johnson,
Eric Copeland,
Tim Buckley,
Kings Of Tomorrow,
Beasts of Bourbon,
Tom Boy,
Unrelated Segments,
B.T. Express,
Max Romeo,
Goldenarms,
Subhumans,
Lalann,
Scratch Acid,
Avey Tare,
The Peanut Butter Conspiracy,
Von Mondo,
New Order,
The Human League,
Bootsy's Rubber Band,
Flamin' Groovies,
Livin' Joy,
Cluster,
David McCallum,
John Holt,
Peter Gordon & Love of Life Orchestra,
Mo-Dettes,
Negative Approach,
Qualms,
Bush Tetras,
Bobby Byrd,
Jesper Dahlback,
Motorama,
Dark Day,
Röyhkä ja Rättö ja Lehtisalo,
Richard Hell and the Voidoids,
Absolute Body Control,
It's A Beautiful Day,
Neu!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultra Naté,
Zero Boys,
Grauzone,
Terry Callier,
Porter Ricks,
Gian Franco Pienzio,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.