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 Peru and from Spokane.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school Edmonton 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 at the first Suicide practice in a loft in New York.
I was working on the güiro 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 Kurtis Blow to the grime kids.
I played it at the Astoria.
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 Derrick May. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Patti 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Remains,
Reuben Wilson,
Public Image Ltd.,
Röyhkä ja Rättö ja Lehtisalo,
DJ Style,
The Mojo Men,
the Normal,
The Royal Family And The Poor,
The Birthday Party,
Deakin,
Joyce Sims,
Mandrill,
Leonard Cohen,
MDC,
EPMD,
Eli Mardock,
Wasted Youth,
Agent Orange,
Lee Hazlewood,
Minny Pops,
Jeru the Damaja,
Vladislav Delay,
Faust,
Soulsonic Force,
Howard Jones,
The Star Department,
Mary Jane Girls,
Zero Boys,
Henry Cow,
Jacob Miller,
Newcleus,
Altered Images,
Drexciya,
Visage,
Sugar Minott,
Suburban Knight,
Masters at Work,
Aloha Tigers,
Lonnie Liston Smith,
Pete Rock & C.L. Smooth,
Godley & Creme,
X-102,
Wings,
The American Breed,
Trumans Water,
AZ,
The Neon Judgement,
Minnie Riperton,
kango's stein massive,
Donald Byrd,
Alice Coltrane,
Dual Sessions,
The Mummies,
Moebius,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
The Gladiators,
Freddie Wadling,
Monks,
Stockholm Monsters,
the Human League,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.