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 Uzbekistan and from Woodstock.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Tehran.
I'm losing my edge to the art-school Manchester 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 snare 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 The Toasters to the jazz kids.
I played it at the Roxy.
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 Avey Tare. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Sister Nancy,
Aswad,
Cybotron,
Amazonics,
Barrington Levy,
Hoover,
Dawn Penn,
Sunsets and Hearts,
Judy Mowatt,
Sun City Girls,
Mr. Review,
The Motions,
FM Einheit,
the Germs,
David Axelrod,
Wally Richardson,
Pantytec,
Pierre Henry,
The United States of America,
The Beau Brummels,
Sonny Sharrock,
Erasure,
Piero Umiliani,
Country Joe & The Fish,
Juan Atkins,
KRS-One,
Terrestrial Tones,
Crash Course in Science,
Byron Stingily,
Marcia Griffiths,
Groovy Waters,
The Modern Lovers,
Babytalk,
Stiv Bators,
Duran Duran,
Organ,
The Blues Magoos,
The Martian,
Beasts of Bourbon,
Jeff Lynne,
Richard Hell and the Voidoids,
Sound Behaviour,
John Cale,
Roger Hodgson,
Funkadelic,
Donald Byrd,
Warsaw,
The Electric Prunes,
Scan 7,
Kaleidoscope,
The Sonics,
Johnny Osbourne,
Harmonia,
Notorious Big And Bone Thugs,
Heavy D & The Boyz,
Joe Smooth,
Joensuu 1685,
Robert Görl,
Moss Icon,
The Birthday Party,
Nik Kershaw,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.