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 Bangladesh and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 jazz 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 Ultramagnetic MC's. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Crispian St. Peters,
Steve Hackett,
Monks,
Brothers Johnson,
Lou Reed & John Cale,
Fear,
The Litter,
Marshall Jefferson,
the Sonics,
Henry Cow,
Black Pus,
The Music Machine,
X-102,
F. McDonald,
Public Enemy,
Kings Of Tomorrow,
Camberwell Now,
Motorama,
K-Klass,
The Modern Lovers,
Johnny Clarke,
Radiopuhelimet,
Soul II Soul,
The Last Poets,
The Knickerbockers,
Accadde A,
John Foxx,
R.M.O.,
UT,
Erasure,
Scott Walker,
Deadbeat,
Visage,
Mad Mike,
Marmalade,
Maurizio,
Rufus Thomas,
Kango’s Stein Massive,
Main Source,
Technova,
Arcadia,
Ultra Naté,
Röyhkä ja Rättö ja Lehtisalo,
Echospace,
Kevin Saunderson,
This Heat,
Model 500,
Avey Tare & Kría Brekkan,
The Sound,
June of 44,
Inner City,
PIL,
Smog,
World's Most,
Albert Ayler,
Glambeats Corp.,
Lungfish,
DJ Style,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.