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 Grenada and from Portland.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Eli Mardock to the techno kids.
I played it at the Troubador.
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 Unrelated Segments. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Drive Like Jehu 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
James White and The Blacks,
Delta 5,
Kool Moe Dee,
The Selecter,
Bush Tetras,
Sällskapet,
Amazonics,
Kerri Chandler,
Rekid,
June of 44,
KRS-One,
Parry Music,
Siglo XX,
Archie Shepp,
Moss Icon,
Little Man,
Urselle,
Gregory Isaacs,
Make Up,
Scratch Acid,
The Victims,
Sam Rivers,
Joey Negro,
Rhythim Is Rhythim,
Terrestrial Tones,
James Chance & The Contortions,
10cc,
Terry Callier,
The Neon Judgement,
Clear Light,
Althea and Donna,
Pet Shop Boys,
The Birthday Party,
Lou Christie,
Alice Coltrane,
Vaughan Mason & Crew,
John Lydon,
Stockholm Monsters,
Angels of Light & Akron/Family,
Mr. Review,
A Flock of Seagulls,
Mark Hollis,
Peter and Kerry,
Andrew Ashong & Theo Parrish,
Qualms,
Roy Ayers,
the Normal,
Ronnie Foster,
Crispian St. Peters,
Pole,
Big Daddy Kane,
John Holt,
Scientists,
Skriet,
The Gories,
Drexciya,
Morten Harket,
The Wake,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Young Marble Giants,
Dorothy Ashby,
Donny Hathaway,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.