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 Mali and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Khruangbin to the techno kids.
I played it at Cafe Wha.
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 Art Ensemble Of Chicago. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Ornette Coleman,
Sonny Sharrock,
Bobby Womack,
The Fire Engines,
Silicon Teens,
Louis and Bebe Barron,
Roy Ayers Ubiquity,
Neil Young & Crazy Horse,
Soulsonic Force,
The Associates,
Robert Wyatt,
Gabor Szabo,
James White and The Blacks,
Depeche Mode,
Marvin Gaye,
The Pop Group,
The Sonics,
Motorama,
Yaz,
Spoonie Gee,
Scrapy,
Massinfluence,
Royal Trux,
The Litter,
Judy Mowatt,
Ultravox,
Oblivians,
Sugar Minott,
Barclay James Harvest,
Isaac Hayes,
Harpers Bizarre,
The Modern Lovers,
The Slackers,
Con Funk Shun,
Smog,
Connie Case,
The Flesh Eaters,
The Doors,
the Normal,
Ultramagnetic MC's,
Can,
Charles Mingus,
Bootsy's Rubber Band,
Little Man,
The Gories,
Animal Collective,
Kerri Chandler,
Sad Lovers and Giants,
Amon Düül II,
Janne Schatter,
Delta 5,
Man Parrish,
Jerry Gold Smith,
Underground Resistance,
Prince Buster,
Todd Terry,
Anakelly,
Drexciya,
The Star Department,
Rakim,
Derrick May,
Crooked Eye,
Quantec,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.