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 Denmark and from Lagos.
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 Lyon and Mexico City.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Busters to the techno 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 Warren Ellis. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Big Daddy Kane,
Livin' Joy,
Moebius,
Jeru the Damaja,
Outsiders,
Ossler,
the Soft Cell,
Eric B and Rakim,
Japan,
Swans,
Drexciya,
Country Teasers,
Connie Case,
Tres Demented,
Funkadelic,
Gang Starr,
Swell Maps,
The Cosmic Jokers,
Tommy Roe,
Tubeway Army,
Gong,
Supertramp,
This Heat,
The Slackers,
The Blues Magoos,
Lucky Dragons,
Lyres,
Al Stewart,
Altered Images,
Gang of Four,
Monolake,
Blake Baxter,
Jawbox,
JFA,
Frankie Knuckles,
Moss Icon,
Derrick Morgan,
Radio Birdman,
The Electric Prunes,
Sonny Sharrock,
Sam Rivers,
Lower 48,
K-Klass,
Oneida,
Lou Christie,
The Index,
Bobby Hutcherson,
Jerry's Kids,
LL Cool J,
Gil Scott-Heron & Brian Jackson,
The United States of America,
48th St. Collective,
Scientists,
New Age Steppers,
Matthew Halsall,
Stetsasonic,
Judy Mowatt,
Anthony Braxton,
Icehouse,
Young Marble Giants,
Qualms, Qualms, Qualms, Qualms.
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.