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 Brazil and from Manchester.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb 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 Selector Dub Narcotic to the punk 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 Rosa Yemen. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
JFA,
Deepchord,
Todd Terry,
Hasil Adkins,
Neu!,
Man Eating Sloth,
Absolute Body Control,
Connie Case,
Heaven 17,
Funky Four + One,
The Pop Group,
Fort Wilson Riot,
Be Bop Deluxe,
Laurel Aitken,
Fugazi,
Bill Near,
Lou Christie,
Fela Kuti,
Parry Music,
Notorious BIG live in Amsterdam,
Y Pants,
Gregory Isaacs,
MDC,
Rhythim Is Rhythim,
Lou Reed & Metallica,
Jimmy McGriff,
Byron Stingily,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Sherman,
PIL,
The Five Americans,
Hashim,
Skarface,
Gastr Del Sol,
Aloha Tigers,
Sam Rivers,
DNA,
Crime,
Kerrie Biddell,
Underground Resistance,
Pere Ubu,
Donald Byrd,
Yusef Lateef,
Radiohead,
Godley & Creme,
Roxy Music,
Ohio Players,
Dark Day,
The Toasters,
Swell Maps,
Depeche Mode,
Gary Puckett & The Union Gap,
DJ Style,
E-Dancer,
UT,
Tubeway Army,
Main Source,
Royal Trux,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.