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 Kuwait and from Madrid.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Mr. Review to the dance kids.
I played it at Trash.
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 Harmonia. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Charles Mingus 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 '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Harpers Bizarre,
Y Pants,
Second Layer,
Patti Smith,
Country Joe & The Fish,
Pete Rock & C.L. Smooth,
Gang Green,
Alice Coltrane,
Alison Limerick,
Lightning Bolt,
Symarip,
Delta 5,
Wasted Youth,
The Cramps,
The Sound,
Rhythim Is Rhythim,
Jesper Dahlback,
DJ Sneak,
Crispian St. Peters,
the Soft Cell,
The Busters,
The American Breed,
Bobby Hutcherson,
Bobby Byrd,
Tubeway Army,
8 Eyed Spy,
Blake Baxter,
Gregory Isaacs,
The Misunderstood,
The Red Krayola,
Ludus,
Marvin Gaye,
the Germs,
Bizarre Inc.,
James White and The Blacks,
Glambeats Corp.,
Motorama,
Pharoah Sanders,
Johnny Clarke,
It's A Beautiful Day,
The Pop Group,
The Monks,
Sonny Sharrock,
Q65,
The Wake,
Eden Ahbez,
Ponytail,
the Slits,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sparks,
Flamin' Groovies,
The Martian,
Crooked Eye,
The Kinks,
Jimmy McGriff,
Trumans Water,
Boredoms,
Zapp,
Infiniti,
Barrington Levy,
Andrew Hill,
Hoover, Hoover, Hoover, Hoover.
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.