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 Ghana and from Tehran.
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 Halifax and Columbus.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 DNA to the funk 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 Panda Bear. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a X-102 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?
Big Daddy Kane,
Derrick Morgan,
Notorious Big And Bone Thugs,
Yaz,
Eurythmics,
Johnny Osbourne,
Sly & The Family Stone,
the Sonics,
Soul II Soul,
Althea and Donna,
Metal Thangz,
a-ha,
U.S. Maple,
Saccharine Trust,
Magazine,
Frankie Knuckles,
Severed Heads,
Brand Nubian,
Gil Scott-Heron & Brian Jackson,
Davy DMX,
Kool Moe Dee,
Delon & Dalcan,
Beasts of Bourbon,
The Martian,
Gastr Del Sol,
The Men They Couldn't Hang,
Lower 48,
Eric Copeland,
The Gun Club,
Yusef Lateef,
Archie Shepp,
Hot Snakes,
Radiopuhelimet,
Gichy Dan,
Underground Resistance,
Agitation Free,
Cecil Taylor,
Rufus Thomas,
Gil Scott Heron,
Chris Corsano,
Faraquet,
Thinking Fellers Union Local 282,
Dorothy Ashby,
Intrusion,
Motorama,
Blossom Toes,
Matthew Bourne,
The Move,
Talk Talk,
The Cramps,
The Electric Prunes,
The Associates,
Scrapy,
The Durutti Column,
Wasted Youth,
Supertramp,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Cymande,
Andrew Hill,
10cc,
Sparks, Sparks, Sparks, Sparks.
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.