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 Montenegro and from Mexico City.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Kool G Rap & DJ Polo to the rap 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 Ituana. All the underground hits.
All Franke 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 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
The Jesus and Mary Chain,
Grauzone,
June of 44,
Angels of Light & Akron/Family,
Wings,
Swell Maps,
Roy Ayers Ubiquity,
The Gun Club,
Rod Modell,
Eric B and Rakim,
Maleditus Sound,
Masters at Work,
The West Coast Pop Art Experimental Band,
One Last Wish,
The Modern Lovers,
Average White Band,
Gil Scott-Heron and Jamie xx,
Liaisons Dangereuses,
Arab on Radar,
David Bowie,
Moby Grape,
Dawn Penn,
Anthony Braxton,
Major Organ And The Adding Machine,
Deakin,
Maurizio,
New Age Steppers,
Ajijia Myrayebe,
Heavy D & The Boyz,
It's A Beautiful Day,
Kango’s Stein Massive,
The Black Dice,
Drive Like Jehu,
Boz Scaggs,
The J.B.'s,
Yaz,
Funkadelic,
Brass Construction,
Eric Copeland,
Eli Mardock,
KRS-One,
Avey Tare & Kría Brekkan,
Kings Of Tomorrow,
Vladislav Delay,
Electric Prunes,
Banda Bassotti,
Nas,
Minor Threat,
Chris & Cosey,
Big Daddy Kane,
Livin' Joy,
Public Image Ltd.,
Siglo XX,
Hasil Adkins,
Duran Duran,
Kool G Rap & DJ Polo,
Electric Light Orchestra,
Dennis Brown,
Panda Bear,
Unrelated Segments,
The Slackers,
the Association, the Association, the Association, the Association.
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.