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 Japan and from Seoul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Manila 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Funky Four + One to the punk 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 Urselle. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Unrelated Segments 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Electric Prunes,
New Order,
The Selecter,
The Tremeloes,
Curtis Mayfield,
Japan,
Nation of Ulysses,
the Sonics,
Johnny Osbourne,
Jawbox,
the Normal,
Radio Birdman,
Electric Light Orchestra,
D'Angelo,
The Jesus and Mary Chain,
Sarah Menescal,
John Holt,
Iggy Pop,
The Star Department,
Visage,
Captain Beefheart & His Magic Band,
Bootsy Collins,
Country Joe & The Fish,
Average White Band,
The Names,
Todd Terry,
Terry Callier,
Pharaoh Sanders and the Fire Engines,
Country Teasers,
Public Image Ltd.,
Khruangbin,
Kauko Röyhkä ja Narttu,
Eli Mardock,
The Gun Club,
Popol Vuh,
The Count Five,
F. McDonald,
Niagra,
Audionom,
The Barracudas,
Gregory Isaacs,
Eurythmics,
Bobbi Humphrey,
Joe Smooth,
Amon Düül II,
Marine Girls,
Johnny Clarke,
Eyeless In Gaza,
Rufus Thomas,
Symarip,
Man Eating Sloth,
Jeff Mills,
The Index,
Gil Scott Heron,
Lonnie Liston Smith,
Dr. Dre and Snoop Doggy Dog,
Neil Young & Crazy Horse,
Morten Harket,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Flash Fearless,
Pylon, Pylon, Pylon, Pylon.
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.