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 Tajikistan and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Portland 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 sitar sounds with much patience.
I was there when Holger Czukay 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 The Leaves to the rap 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 Curtis Mayfield. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Talk Talk 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Eurythmics,
Eric Copeland,
48th St. Collective,
Sällskapet,
Skarface,
Kaleidoscope,
Yellowson,
Shuggie Otis,
The Alarm Clocks,
Iggy Pop,
The Last Poets,
Altered Images,
Tears for Fears,
Gian Franco Pienzio,
Unrelated Segments,
Sparks,
Dark Day,
Isaac Hayes,
Franke,
Max Romeo,
The West Coast Pop Art Experimental Band,
Pantaleimon,
Youth Brigade,
Interpol,
The Slits,
Joyce Sims,
Captain Beefheart & His Magic Band,
Alphaville,
John Cale,
The Dirtbombs,
Malaria!,
Pierre Henry,
Pharaoh Sanders and the Fire Engines,
The Wake,
Lalo Schifrin,
Archie Shepp,
Ohio Players,
Livin' Joy,
Y Pants,
Toni Rubio,
Parry Music,
D'Angelo,
Subhumans,
Beasts of Bourbon,
Nils Olav,
Crooked Eye,
Michelle Simonal,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boredoms,
Judy Mowatt,
Camron Feat. Jay Z And Juelz,
Bobby Byrd,
Amon Düül II,
Rahsaan Roland Kirk,
Radiopuhelimet,
Lou Reed & John Cale,
Mark Hollis,
Tomorrow,
Sister Nancy,
Bill Near,
R.M.O.,
The Pretty Things,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.