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 Japan and from Beijing.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Columbus 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 Aswad to the crunk 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 Barry Ungar. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Amon Düül II 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 '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Aural Exciters,
Fela Kuti,
Reuben Wilson,
Bang on a Can All-Stars,
Hasil Adkins,
Nation of Ulysses,
The Moleskins,
The Velvet Underground,
Rod Modell,
Fatback Band,
Yusef Lateef,
Bob Dylan,
Kenny Larkin,
Ajijia Myrayebe,
Brothers Johnson,
Roxette,
Crooked Eye,
Nik Kershaw,
Ash Ra Tempel,
Godley & Creme,
Brass Construction,
The Moody Blues,
The Move,
The United States of America,
Ponytail,
Talk Talk,
Franke,
Major Organ And The Adding Machine,
Marshall Jefferson,
Iggy Pop,
Pussy Galore,
Sugar Minott,
B.T. Express,
Howard Jones,
Maleditus Sound,
The Music Machine,
Morten Harket,
Yellowson,
Radiohead,
The Kinks,
Man Eating Sloth,
Liaisons Dangereuses,
The Gap Band,
Kango’s Stein Massive,
T.S.O.L.,
Tres Demented,
Fort Wilson Riot,
The Blackbyrds,
Mr. Review,
Pantytec,
Grey Daturas,
Technova,
Louis and Bebe Barron,
Drexciya,
Kerrie Biddell,
L. Decosne,
Lou Reed & John Cale,
The Buckinghams,
Mark Hollis,
The Leaves, The Leaves, The Leaves, The Leaves.
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.