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 Bosnia Herzegovina and from Edmonton.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Beijing 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Stockholm Monsters to the punk 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 Kenny Larkin. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Delta 5 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 '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Ice-T,
Franke,
Al Stewart,
Popol Vuh,
Funkadelic,
Mo-Dettes,
Interpol,
Spoonie Gee,
Boredoms,
Das Ding,
Sly & The Family Stone,
Parry Music,
Animal Collective,
Eric Dolphy,
Excepter,
Eli Mardock,
Ultramagnetic MC's,
Terry Callier,
Fifty Foot Hose,
It's A Beautiful Day,
MC5,
Dr. Dre and Snoop Doggy Dog,
Tears for Fears,
DJ Sneak,
Louis and Bebe Barron,
Crispian St. Peters,
Gichy Dan,
Kerri Chandler,
Hoover,
Television,
R.M.O.,
Lou Reed & John Cale,
T.S.O.L.,
The Invisible,
Matthew Bourne,
A Certain Ratio,
Deutsch Amerikanische Freundschaft,
Chris Corsano,
Los Fastidios,
Drexciya,
London Community Gospel Choir,
Sixth Finger,
CMW,
Ponytail,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marshall Jefferson,
Scion,
KRS-One,
The Searchers,
Can,
Stockholm Monsters,
World's Most,
Sarah Menescal,
Con Funk Shun,
The Golliwogs,
Danielle Patucci,
Stiv Bators,
Brass Construction,
Jeru the Damaja,
Bush Tetras,
The Black Dice,
Gang Starr,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.