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 Houston.
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 Glasgow and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Gichy Dan 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 Oppenheimer Analysis. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Brass Construction 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Bill Wells,
Big Daddy Kane,
Alison Limerick,
Soft Cell,
Art Ensemble Of Chicago,
Gil Scott-Heron & Brian Jackson,
Sun Ra Arkestra,
Liliput,
Eli Mardock,
The Busters,
Crispian St. Peters,
Unrelated Segments,
Warren Ellis,
Can,
Skriet,
De La Soul & Jungle Brothers,
The Pretty Things,
the Fania All-Stars,
Kool Moe Dee,
Ponytail,
Drexciya,
Second Layer,
Altered Images,
Radiohead,
The Trojans,
Deadbeat,
H. Thieme,
The Last Poets,
Sunsets and Hearts,
The Doors,
The Techniques,
Thinking Fellers Union Local 282,
UT,
Siglo XX,
X-102,
Wings,
Animal Collective,
Vaughan Mason & Crew,
Marc Romboy vs. Booka Shade,
The Electric Prunes,
Sun City Girls,
Circle Jerks,
The Black Dice,
Man Parrish,
Sad Lovers and Giants,
Blake Baxter,
Gong,
Echo & the Bunnymen,
The Blues Magoos,
The Searchers,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Nirvana,
Talk Talk,
Ituana,
Joy Division,
Wighnomy Brothers & Robag Wruhme,
The Dead C,
Beasts of Bourbon,
Excepter,
Bad Manners,
Swans, Swans, Swans, Swans.
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.