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 Iraq and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Hong Kong 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 harpsichord 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 Mark Hollis to the techno 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 Skarface. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Soul Sonic Force,
Alton Ellis,
Rosa Yemen,
Derrick May,
DNA,
Eden Ahbez,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Fad Gadget,
Jawbox,
The Zeros,
Pussy Galore,
Marcia Griffiths,
The Doobie Brothers,
Jeff Mills,
Moss Icon,
Gerry Rafferty,
Heaven 17,
Stereo Dub,
Michelle Simonal,
The Blues Magoos,
the Normal,
OOIOO,
Electric Light Orchestra,
Yellowson,
Lower 48,
Kerrie Biddell,
Minutemen,
The Motions,
The Beau Brummels,
Dennis Brown,
The Vogues,
Bobby Sherman,
Interpol,
Manfred Mann's Earth Band,
Justin Hinds & The Dominoes,
Dual Sessions,
Liaisons Dangereuses,
New Order,
Wally Richardson,
Oppenheimer Analysis,
Sun City Girls,
Boredoms,
Lou Christie,
48th St. Collective,
Fat Boys,
Gong,
A Certain Ratio,
The Dirtbombs,
Barrington Levy,
Japan,
The Searchers,
Dorothy Ashby,
Gang Gang Dance,
Intrusion,
Pharaoh Sanders and the Fire Engines,
Skarface,
Motorama,
Grey Daturas,
Isaac Hayes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Litter,
Art Ensemble Of Chicago,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.