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 Malaysia and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron 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 Con Funk Shun to the grime kids.
I played it at CBGB's.
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 Grey Daturas. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Slave 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Thinking Fellers Union Local 282,
The Mojo Men,
Crash Course in Science,
Ronnie Foster,
Bob Dylan,
Kenny Larkin,
Eden Ahbez,
Junior Murvin,
Amon Düül II,
Max Romeo,
Gabor Szabo,
Chrome,
Severed Heads,
Kas Product,
the Human League,
Man Eating Sloth,
Alice Coltrane,
The New Christs,
Siglo XX,
Johnny Clarke,
Jacques Brel,
The Selecter,
Swell Maps,
Fluxion,
Strawberry Alarm Clock,
Funkadelic,
Camberwell Now,
Cheater Slicks,
The West Coast Pop Art Experimental Band,
Zero Boys,
Harpers Bizarre,
Second Layer,
Negative Approach,
Roy Ayers Ubiquity,
Deutsch Amerikanische Freundschaft,
Whodini,
Black Pus,
EPMD,
Curtis Mayfield,
Heavy D & The Boyz,
Judy Mowatt,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Aaron Thompson,
The Remains,
Terrestrial Tones,
Joe Finger,
Moby Grape,
Minny Pops,
Quando Quango,
Gerry Rafferty,
Model 500,
Frankie Knuckles,
Scott Walker + Sunn O))),
Goldenarms,
Television Personalities,
Pierre Henry,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
Electric Light Orchestra,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.