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 Nicaragua and from Lyon.
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 Taipei and Copenhagen.
I'm losing my edge to the art-school Accra 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the grunge kids.
I played it at the Spitz.
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 Robert Hood. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Main Source,
Cymande,
Avey Tare & Kría Brekkan,
Chris & Cosey,
Lungfish,
Theoretical Girls,
The Doobie Brothers,
The Grass Roots,
Camouflage,
the Slits,
A Flock of Seagulls,
Ituana,
Godley & Creme,
Black Moon,
LL Cool J,
Supertramp,
Sarah Menescal,
The Litter,
Kango’s Stein Massive,
Jesper Dahlbäck,
Guru Guru,
Darondo,
Sight & Sound,
Deutsch Amerikanische Freundschaft,
James White and The Blacks,
Panda Bear,
Gian Franco Pienzio,
Gregory Isaacs,
Brick,
Liliput,
The Black Dice,
Joe Smooth,
Fela Kuti,
Jeru the Damaja,
UT,
Kayak,
Blossom Toes,
The Mummies,
Can,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Skriet,
The Invisible,
The Mighty Diamonds,
8 Eyed Spy,
Public Image Ltd.,
Electric Prunes,
Kool Moe Dee,
X-102,
The Blackbyrds,
The Barracudas,
Amon Düül,
Michelle Simonal,
Pere Ubu,
Juan Atkins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Stooges,
Lizzy Mercier Descloux,
The Techniques,
Gang of Four,
Man Eating Sloth,
Maurizio, Maurizio, Maurizio, Maurizio.
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.