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 Laos and from Manila.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Pulsallama to the crunk kids.
I played it at Cafe Wha.
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 Nation of Ulysses. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
KRS-One,
Joe Smooth,
Peter Gordon & Love of Life Orchestra,
Soul II Soul,
Lou Reed & Metallica,
Visionaries,LMNO, T- Love & Iriscience,
Skriet,
Smog,
Fat Boys,
Desert Stars,
Technova,
Juan Atkins,
The Gories,
Heaven 17,
Lou Reed & John Cale,
DeepChord presents Echospace,
Das Ding,
Albert Ayler,
David McCallum,
Marc Almond,
Judy Mowatt,
Flipper,
Funkadelic,
The Smoke,
U.S. Maple,
The Divine Comedy,
Aural Exciters,
DJ Sneak,
Robert Wyatt,
Lou Reed,
Larry & the Blue Notes,
Animal Collective,
The Durutti Column,
Sexual Harrassment,
Erasure,
Niagra,
Susan Cadogan,
Ronan,
The Motions,
Terrestrial Tones,
Grandmaster Flash and the Furious Five,
Ornette Coleman,
Crispian St. Peters,
Rites of Spring,
cv313,
Supertramp,
Sam Rivers,
Johnny Clarke,
Public Image Ltd.,
Derrick Morgan,
the Human League,
Angels of Light & Akron/Family,
The Martian,
Grey Daturas,
Bluetip,
Eve St. Jones,
The Smiths,
Pierre Henry,
Beasts of Bourbon,
Fluxion,
Avey Tare,
Tomorrow,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.