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 Greece and from Paris.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Milan 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Icehouse to the disco kids.
I played it at the Crocodile.
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 John Coltrane. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Barbara Tucker,
Clear Light,
Gang Starr,
The Young Rascals,
New Order,
Godley & Creme,
The Searchers,
Sixth Finger,
Popol Vuh,
Moebius,
Adolescents,
Pantytec,
Rufus Thomas,
Amon Düül,
Yellowson,
Hoover,
Soul II Soul,
The Selecter,
Ronan,
Lonnie Liston Smith,
Joe Smooth,
Altered Images,
The Red Krayola,
Rites of Spring,
Eric B and Rakim,
The Index,
Drexciya,
David Axelrod,
Agent Orange,
Laurel Aitken,
DJ Sneak,
Minnie Riperton,
Anakelly,
Kas Product,
The Durutti Column,
Joy Division,
Be Bop Deluxe,
Lower 48,
Kool G Rap & DJ Polo,
Notorious BIG live in Amsterdam,
Grandmaster Flash,
Sugar Minott,
Soft Machine,
The Standells,
Chris Corsano,
Sight & Sound,
Susan Cadogan,
Black Sheep,
Bob Dylan,
Warsaw,
Mantronix,
Slick Rick,
Young Marble Giants,
Pete Rock & C.L. Smooth,
In Retrospect,
Camouflage,
Deutsch Amerikanische Freundschaft,
Maurizio,
Q and Not U,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.