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 Accra.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1974.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Bootsy Collins to the techno kids.
I played it at the Roxy.
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 Boogie Down Productions. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
The Mighty Diamonds,
Barrington Levy,
Bluetip,
Depeche Mode,
Letta Mbulu,
Soul Sonic Force,
The United States of America,
Siouxsie and the Banshees,
Khruangbin,
Eric Copeland,
Jandek,
Fela Kuti,
Sight & Sound,
The Sonics,
The Gories,
KRS-One,
Matthew Halsall,
The Human League,
Peter and Kerry,
The Techniques,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott-Heron and Jamie xx,
Laurel Aitken,
Surgeon,
The Five Americans,
Jacob Miller,
the Human League,
Roy Ayers,
Piero Umiliani,
Half Japanese,
Slick Rick,
Masters at Work,
Red Lorry Yellow Lorry,
Kool G Rap & DJ Polo,
Model 500,
Sonny Sharrock,
The Wake,
Crooked Eye,
Nirvana,
The Slits,
The Detroit Cobras,
Mars,
Kevin Saunderson,
The Moody Blues,
Roxy Music,
Kool Moe Dee,
The American Breed,
Quadrant,
Motorama,
Country Joe & The Fish,
FM Einheit,
Flamin' Groovies,
B.T. Express,
The West Coast Pop Art Experimental Band,
Scion,
Barbara Tucker,
Beasts of Bourbon,
Fort Wilson Riot,
Max Romeo,
Silicon Teens,
The Real Kids,
Yazoo, Yazoo, Yazoo, Yazoo.
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.