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 Senegal and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1971.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
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 Captain Beefheart 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 Pete Rock & C.L. Smooth to the dance kids.
I played it at the Spitz.
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 The Smoke. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every Chrome 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
The Peanut Butter Conspiracy,
8 Eyed Spy,
Brothers Johnson,
World's Most,
Isaac Hayes,
The Techniques,
the Swans,
cv313,
Aswad,
Hardrive,
Eyeless In Gaza,
Gil Scott-Heron and Jamie xx,
Cal Tjader,
Kayak,
A Certain Ratio,
Erasure,
Hasil Adkins,
The Birthday Party,
These Immortal Souls,
Derrick Morgan,
Tom Boy,
Vainqueur,
Bobby Womack,
Scion,
Sparks,
Max Romeo,
Kings Of Tomorrow,
The Mojo Men,
Liaisons Dangereuses,
Alice Coltrane,
Grey Daturas,
Larry & the Blue Notes,
Byron Stingily,
Lonnie Liston Smith,
Electric Light Orchestra,
Spandau Ballet,
X-101,
Idris Muhammad,
Icehouse,
Stockholm Monsters,
Charles Mingus,
Big Daddy Kane,
X-Ray Spex,
Kaleidoscope,
Urselle,
Ralphi Rosario,
Rites of Spring,
Fort Wilson Riot,
De La Soul & Jungle Brothers,
Kango’s Stein Massive,
Desert Stars,
Joe Finger,
kango's stein massive,
Stiv Bators,
Mark Hollis,
Rowland S Howard / Lydia Lunch,
Alton Ellis,
The American Breed,
X-102,
Kerri Chandler,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.