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 Honduras and from New York.
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 1974.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Tomorrow 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 Gregory Isaacs. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
UT,
Vaughan Mason & Crew,
Lonnie Liston Smith,
Spoonie Gee,
Los Fastidios,
The Five Americans,
Yellowson,
Andrew Ashong & Theo Parrish,
Quadrant,
Wings,
Essential Logic,
Todd Terry,
Intrusion,
JFA,
Black Bananas,
Ludus,
The Young Rascals,
Wolf Eyes,
The Motions,
Colin Newman,
James White and The Blacks,
Stereo Dub,
Charles Mingus,
Joe Finger,
Roy Ayers Ubiquity,
Country Joe & The Fish,
Al Stewart,
The Barracudas,
Jacques Brel,
Gregory Isaacs,
Con Funk Shun,
Drexciya,
Brick,
Y Pants,
The Human League,
the Germs,
The Slackers,
Barrington Levy,
Goldenarms,
The Birthday Party,
The Knickerbockers,
Lou Reed,
Livin' Joy,
Young Marble Giants,
Scott Walker,
Nation of Ulysses,
Khruangbin,
Dead Boys,
Shoche,
Iggy Pop,
Arcadia,
Gil Scott Heron,
Flamin' Groovies,
Saccharine Trust,
Glambeats Corp.,
Michelle Simonal,
the Association,
Sugar Minott,
The Fall,
ABBA,
Chris Corsano,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.