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 Iran and from Glasgow.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Fania All-Stars to the crunk kids.
I played it at Trash.
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 Eli Mardock. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Oneida 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp 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?
James White and The Blacks,
Silicon Teens,
Janne Schatter,
Robert Görl,
Tropical Tobacco,
Peter Gordon & Love of Life Orchestra,
Ronan,
The Modern Lovers,
OOIOO,
Kauko Röyhkä ja Narttu,
Quadrant,
Pylon,
The Cowsills,
X-Ray Spex,
Mo-Dettes,
Fela Kuti,
Cymande,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
F. McDonald,
Drive Like Jehu,
Ten City,
Angels of Light & Akron/Family,
Jacob Miller,
Pierre Henry,
Art Ensemble Of Chicago,
Agitation Free,
The Residents,
Peter & Gordon,
Hot Snakes,
Black Bananas,
Peter and Kerry,
Con Funk Shun,
The Busters,
Chris Corsano,
Byron Stingily,
Kas Product,
Althea and Donna,
Nick Fraelich,
Fear,
Hashim,
Tim Buckley,
Toni Rubio,
Delta 5,
Lalo Schifrin,
Sandy B,
Shuggie Otis,
Bauhaus,
Magma,
Public Image Ltd.,
Newcleus,
Negative Approach,
The Gap Band,
The Moody Blues,
Amon Düül II,
Buzzcocks,
The Techniques,
Funkadelic,
Wasted Youth,
Sam Rivers,
a-ha,
Television,
Erykah Badu,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.