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 Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Altered Images to the jazz 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 Lower 48. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every James White and The Blacks 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Black Moon,
Y Pants,
Marine Girls,
Judy Mowatt,
Eden Ahbez,
Amon Düül,
Joyce Sims,
Wasted Youth,
Boredoms,
Crime,
The Men They Couldn't Hang,
Gary Puckett & The Union Gap,
JFA,
Brand Nubian,
The Neon Judgement,
Alphaville,
The United States of America,
Kings Of Tomorrow,
Desert Stars,
Country Joe & The Fish,
Sunsets and Hearts,
Liliput,
Eric Copeland,
Carl Craig,
X-102,
Sight & Sound,
The Durutti Column,
Niagra,
Alice Coltrane,
Barrington Levy,
The Doobie Brothers,
Bizarre Inc.,
Pete Rock & C.L. Smooth,
Ludus,
Gang Starr,
Joe Smooth,
The Beau Brummels,
Scientists,
The Detroit Cobras,
Avey Tare & Kría Brekkan,
Adolescents,
DJ Style,
The Slackers,
Warren Ellis,
R.M.O.,
Mission of Burma,
Moss Icon,
Funkadelic,
Model 500,
Fear,
KRS-One,
Johnny Clarke,
Lebanon Hanover,
Aaron Thompson,
Derrick May,
Ornette Coleman,
Q65,
Main Source,
Ralphi Rosario,
Roy Ayers,
The Doors,
Radio Birdman,
The Music Machine,
Drexciya, Drexciya, Drexciya, Drexciya.
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.