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 United Kingdom and from Manila.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 The Mojo Men to the crunk kids.
I played it at the Astoria.
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 Art Ensemble Of Chicago. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Todd Rundgren,
Graham Central Station,
Pantytec,
Surgeon,
Visionaries,LMNO, T- Love & Iriscience,
Arthur Verocai,
The Offenders,
The Leaves,
Reuben Wilson,
Black Pus,
Kauko Röyhkä ja Narttu,
The Dirtbombs,
Flash Fearless,
Mission of Burma,
Stereo Dub,
Davy DMX,
PIL,
Pete Rock & C.L. Smooth,
Barrington Levy,
Sexual Harrassment,
Rotary Connection,
Model 500,
Marcia Griffiths,
Jeff Lynne,
the Fania All-Stars,
Dark Day,
Delon & Dalcan,
The Men They Couldn't Hang,
Orchestral Manoeuvres in the Dark,
Masters at Work,
John Coltrane,
D'Angelo,
Kaleidoscope,
Siouxsie and the Banshees,
Delta 5,
Funky Four + One,
Barbara Tucker,
The Slits,
Janne Schatter,
Bootsy's Rubber Band,
F. McDonald,
Louis and Bebe Barron,
Anthony Braxton,
The Pretty Things,
Theoretical Girls,
X-101,
The Slackers,
Colin Newman,
Rahsaan Roland Kirk,
Wolf Eyes,
Pantaleimon,
8 Eyed Spy,
Faraquet,
Motorama,
The Golliwogs,
Liliput,
Fatback Band,
Youth Brigade,
Rekid,
David Bowie,
Black Moon,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.