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 Algeria and from Taipei.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 Brass Construction to the jazz kids.
I played it at CBGB's.
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 Misunderstood. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
In Retrospect,
Popol Vuh,
Wally Richardson,
The Vogues,
Anthony Braxton,
Matthew Halsall,
The Index,
The Red Krayola,
Peter & Gordon,
Kool Moe Dee,
Organ,
The Durutti Column,
Grey Daturas,
Pet Shop Boys,
It's A Beautiful Day,
Joe Smooth,
Kool G Rap & DJ Polo,
Japan,
The Offenders,
Danielle Patucci,
Visionaries,LMNO, T- Love & Iriscience,
The Buckinghams,
Fear,
The Trojans,
Morten Harket,
Bush Tetras,
Todd Rundgren,
The Monks,
Marc Almond,
Ash Ra Tempel,
Grauzone,
Lower 48,
Robert Görl,
Neil Young & Crazy Horse,
The Remains,
The Divine Comedy,
Siglo XX,
Derrick Morgan,
Rosa Yemen,
A Certain Ratio,
Urselle,
June of 44,
Cheater Slicks,
T. Rex,
The Standells,
Spandau Ballet,
Archie Shepp,
Visage,
Sandy B,
Technova,
Rakim,
Banda Bassotti,
Angry Samoans,
Boz Scaggs,
Fat Boys,
Isaac Hayes,
Thinking Fellers Union Local 282,
Gary Puckett & The Union Gap,
Mr. Review,
Das Ding,
Ajijia Myrayebe,
the Normal,
The Doors, The Doors, The Doors, The Doors.
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.