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 Afghanistan and from Shanghai.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Faraquet to the rap kids.
I played it at Trash.
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 Bob Dylan. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Tomorrow,
Be Bop Deluxe,
Morten Harket,
the Swans,
The Mojo Men,
Faraquet,
Todd Terry,
B.T. Express,
Boz Scaggs,
Marvin Gaye,
Albert Ayler,
Kas Product,
T.S.O.L.,
The Leaves,
The Motions,
Sad Lovers and Giants,
The Evens,
Sun Ra,
Brothers Johnson,
Sun Ra Arkestra,
Kerri Chandler,
Crispy Ambulance,
A Certain Ratio,
Accadde A,
Parry Music,
Pere Ubu,
Rod Modell,
Eve St. Jones,
Lalann,
Louis and Bebe Barron,
Wasted Youth,
Gil Scott Heron,
Scratch Acid,
Barclay James Harvest,
Larry & the Blue Notes,
Average White Band,
The Moody Blues,
Clear Light,
EPMD,
the Bar-Kays,
Manfred Mann's Earth Band,
Hashim,
Hot Snakes,
Deakin,
Barbara Tucker,
Rites of Spring,
Brass Construction,
Kool G Rap & DJ Polo,
Slick Rick,
Brand Nubian,
Monks,
Rufus Thomas,
Röyhkä ja Rättö ja Lehtisalo,
Kauko Röyhkä ja Narttu,
Roy Ayers,
Jeff Lynne,
The Dave Clark Five,
Main Source,
Marc Romboy vs. Booka Shade,
Pete Rock & C.L. Smooth,
Popol Vuh,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.