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 Antigua and from Portland.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the rap 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 Jesper Dahlbäck. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Amon Düül II,
Stereo Dub,
Stockholm Monsters,
Dennis Brown,
Pere Ubu,
Eric B and Rakim,
Accadde A,
Black Moon,
The Five Americans,
Alphaville,
The Cosmic Jokers,
Boogie Down Productions,
The Electric Prunes,
Blake Baxter,
Freddie Wadling,
Larry & the Blue Notes,
Severed Heads,
Black Pus,
Wighnomy Brothers & Robag Wruhme,
Metal Thangz,
Maleditus Sound,
Eve St. Jones,
Make Up,
Au Pairs,
Infiniti,
Pharoah Sanders,
Soulsonic Force,
Alice Coltrane,
Scott Walker + Sunn O))),
Fear,
The Index,
Das Ding,
Moebius,
cv313,
John Holt,
Ajijia Myrayebe,
The Martian,
Thinking Fellers Union Local 282,
Rufus Thomas,
Liaisons Dangereuses,
The Monochrome Set,
Ossler,
Groovy Waters,
Whodini,
Robert Hood,
Laurel Aitken,
Lee Hazlewood,
Slave,
Nik Kershaw,
James White and The Blacks,
Delon & Dalcan,
Fugazi,
Johnny Osbourne,
The Pop Group,
Crash Course in Science,
London Community Gospel Choir,
The Moody Blues,
Chrome,
Cymande,
Clear Light,
New York Dolls,
DeepChord presents Echospace,
June of 44, June of 44, June of 44, June of 44.
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.