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 Andorra and from Accra.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Cecil Taylor to the rock kids.
I played it at the 40 Watt.
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 Hoover. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Das Ding,
Quando Quango,
Ajijia Myrayebe,
Mandrill,
Lower 48,
Gil Scott-Heron and Jamie xx,
Public Image Ltd.,
Man Parrish,
Kerri Chandler,
The Chocolate Watch Band,
the Sonics,
The Remains,
the Bar-Kays,
Model 500,
Hardrive,
Thinking Fellers Union Local 282,
Lou Christie,
Soulsonic Force,
The J.B.'s,
Mr. Review,
Vainqueur,
Jeff Lynne,
Dual Sessions,
Richard Hell and the Voidoids,
Shoche,
Black Sheep,
It's A Beautiful Day,
Flash Fearless,
Minutemen,
The Star Department,
Grey Daturas,
Avey Tare's Slasher Flicks,
Skriet,
Skaos,
Pantaleimon,
Josef K,
Gary Puckett & The Union Gap,
The Durutti Column,
Glambeats Corp.,
Fifty Foot Hose,
Byron Stingily,
Gang Starr,
Eric B and Rakim,
James Chance & The Contortions,
The Doors,
The Monochrome Set,
Stockholm Monsters,
Au Pairs,
Monolake,
Sarah Menescal,
The Standells,
Red Lorry Yellow Lorry,
The Dave Clark Five,
The Offenders,
Alphaville,
Judy Mowatt,
Faraquet,
Andrew Hill,
Justin Hinds & The Dominoes,
Selector Dub Narcotic,
Sly & The Family Stone,
Second Layer, Second Layer, Second Layer, Second Layer.
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.