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 Thailand and from Cairo.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Milan and Lagos.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin 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 Grauzone to the techno kids.
I played it at the Crocodile.
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 Amazonics. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Blossom Toes,
The Victims,
Sun City Girls,
Ten City,
Kool G Rap & DJ Polo,
Sam Rivers,
Letta Mbulu,
Ronan,
The Vogues,
Maleditus Sound,
The Durutti Column,
E-Dancer,
The Five Americans,
Accadde A,
Black Pus,
Graham Central Station,
Röyhkä ja Rättö ja Lehtisalo,
Quantec,
Bootsy's Rubber Band,
Tomorrow,
The Dave Clark Five,
Judy Mowatt,
Manfred Mann's Earth Band,
Quadrant,
Roy Ayers,
Qualms,
The Moody Blues,
Subhumans,
Erykah Badu,
Section 25,
Metal Thangz,
Eric Dolphy,
Wally Richardson,
Jerry Gold Smith,
Monks,
Alice Coltrane,
Gil Scott-Heron & Brian Jackson,
The Tremeloes,
Patti Smith,
Schoolly D,
Slick Rick,
The Saints,
Sandy B,
Terry Callier,
The Blackbyrds,
Symarip,
Pantytec,
Model 500,
The Monochrome Set,
Bill Wells,
Ice-T,
Johnny Osbourne,
The Knickerbockers,
New Age Steppers,
Roxette,
Dorothy Ashby,
The Evens,
Ossler,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.