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 Brazil and from Mumbai.
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 1966 to 1973.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Salvador 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 Selda practice in a loft in Istanbul.
I was working on the mellotron 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 KRS-One to the disco kids.
I played it at the Astoria.
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 Swans. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Howard Jones,
Grandmaster Flash,
The Walker Brothers,
John Coltrane,
Monks,
Andrew Hill,
The Smoke,
cv313,
Heavy D & The Boyz,
The Angels of Light,
Robert Görl,
Niagra,
Audionom,
Newcleus,
Half Japanese,
Metal Thangz,
Archie Shepp,
Kool Moe Dee,
Malaria!,
Marshall Jefferson,
The Shadows of Knight,
Fluxion,
Flash Fearless,
Second Layer,
Ronnie Foster,
Motorama,
Roy Ayers Ubiquity,
Sparks,
Wire,
FM Einheit,
Masters at Work,
Mantronix,
Eric Copeland,
Hashim,
Joe Finger,
Qualms,
Leonard Cohen,
Warsaw,
Erykah Badu,
Drive Like Jehu,
Gil Scott Heron,
The Mummies,
Soul II Soul,
the Bar-Kays,
Ornette Coleman,
Moebius,
London Community Gospel Choir,
Nick Cave & The Bad Seeds,
Dawn Penn,
The Tremeloes,
Yaz,
Aaron Thompson,
Flipper,
The Slackers,
Neil Young,
Interpol,
The Knickerbockers,
Jacob Miller,
Drexciya,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.