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 Iran and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Pharoah Sanders to the disco 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 X-101. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
The Slits,
AZ,
Strawberry Alarm Clock,
Anakelly,
The Smiths,
Spoonie Gee,
Soul Sonic Force,
Electric Light Orchestra,
Ralphi Rosario,
Sällskapet,
Lonnie Liston Smith,
Lou Reed,
Lizzy Mercier Descloux,
X-102,
Fat Boys,
Connie Case,
The Black Dice,
Rufus Thomas,
Black Moon,
UT,
Red Lorry Yellow Lorry,
Dennis Brown,
Mad Mike,
Half Japanese,
Fort Wilson Riot,
Livin' Joy,
Spandau Ballet,
Sun Ra Arkestra,
The Wake,
Sun Ra,
Warsaw,
Davy DMX,
Laurel Aitken,
Boz Scaggs,
Little Man,
The Young Rascals,
Gang Starr,
Camouflage,
Funky Four + One,
Easy Going,
Pantytec,
Anthony Braxton,
Lou Reed & Metallica,
Kayak,
Aloha Tigers,
Clear Light,
Derrick May,
Gang of Four,
Ajijia Myrayebe,
Boogie Down Productions,
The Dead C,
The Dirtbombs,
Marshall Jefferson,
Public Enemy,
James Chance & The Contortions,
Accadde A,
Jawbox,
The Walker Brothers,
Minny Pops,
Rakim,
Joe Finger,
Magazine, Magazine, Magazine, Magazine.
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.