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 Netherlands and from Manchester.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Lyon 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 Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 Joyce Sims to the disco 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 The Martian. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
PIL,
The Techniques,
Bluetip,
X-102,
MDC,
Joensuu 1685,
Qualms,
Eddi Front,
The Offenders,
Black Sheep,
Drexciya,
The Men They Couldn't Hang,
Oneida,
Half Japanese,
The Dave Clark Five,
John Foxx,
Pierre Henry,
Aaron Thompson,
Grandmaster Flash and the Furious Five,
Procol Harum,
Spandau Ballet,
The Music Machine,
Eric Dolphy,
John Holt,
Crash Course in Science,
The Saints,
A Certain Ratio,
Skaos,
The Dirtbombs,
Nation of Ulysses,
Sunsets and Hearts,
Girls At Our Best!,
Kurtis Blow,
Gastr Del Sol,
Maleditus Sound,
Swans,
Beasts of Bourbon,
Major Organ And The Adding Machine,
The Monochrome Set,
Albert Ayler,
Sun Ra Arkestra,
The Smoke,
Gil Scott Heron,
Funkadelic,
Donny Hathaway,
The J.B.'s,
Spoonie Gee,
Be Bop Deluxe,
Nils Olav,
The Fortunes,
Arab on Radar,
The Buckinghams,
Sixth Finger,
Kool Moe Dee,
Delta 5,
Skarface,
Wally Richardson,
Deadbeat,
Amon Düül II,
Clear Light,
Lou Reed & John Cale,
Barrington Levy,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.