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 Montenegro and from Tokyo.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Matthew Halsall to the electroclash kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Divine Comedy 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Godley & Creme,
Throbbing Gristle,
Jimmy McGriff,
The Fire Engines,
The Residents,
Harry Pussy,
Quadrant,
48th St. Collective,
Gong,
T. Rex,
The Leaves,
Chris & Cosey,
Eric Dolphy,
Red Lorry Yellow Lorry,
Delta 5,
Grey Daturas,
ABC,
Kings Of Tomorrow,
Kerrie Biddell,
The Doors,
The Barracudas,
Sun Ra Arkestra,
Q65,
Agent Orange,
Tropical Tobacco,
Rakim,
DNA,
Quantec,
Eyeless In Gaza,
Avey Tare & Kría Brekkan,
Sonic Youth,
Davy DMX,
Tim Buckley,
Siglo XX,
Max Romeo,
a-ha,
Yazoo,
The Peanut Butter Conspiracy,
Spandau Ballet,
Parry Music,
Babytalk,
The J.B.'s,
Urselle,
Avey Tare's Slasher Flicks,
The Raincoats,
Joey Negro,
Captain Beefheart & His Magic Band,
Model 500,
Matthew Bourne,
Eden Ahbez,
Toni Rubio,
Marcia Griffiths,
Roger Hodgson,
DJ Sneak,
The Detroit Cobras,
Reuben Wilson,
Essential Logic,
Pylon,
Ludus,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.