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 San Marino and from Toronto.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Halifax 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Knickerbockers to the funk 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 Neil Young. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Ronan,
Jawbox,
In Retrospect,
Smog,
MDC,
Brass Construction,
Hardrive,
Brick,
Minnie Riperton,
It's A Beautiful Day,
The Stooges,
Rites of Spring,
Bill Near,
Von Mondo,
Eden Ahbez,
Audionom,
The Electric Prunes,
Hashim,
Albert Ayler,
David McCallum,
Sun Ra Arkestra,
Graham Central Station,
Mars,
Minny Pops,
Sonny Sharrock,
Camron Feat. Jay Z And Juelz,
Sexual Harrassment,
One Last Wish,
The Dave Clark Five,
Lindisfarne,
Crime,
Excepter,
The Five Americans,
The Remains,
Ash Ra Tempel,
Ralphi Rosario,
Red Lorry Yellow Lorry,
KRS-One,
Lou Reed & John Cale,
Neu!,
Blossom Toes,
Qualms,
Soul Sonic Force,
Tears for Fears,
Jeff Lynne,
Gil Scott-Heron and Jamie xx,
Magma,
Kool G Rap & DJ Polo,
Jesper Dahlbäck,
The Move,
Nirvana,
Erasure,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
The Techniques,
Buzzcocks,
Saccharine Trust,
Can,
John Lydon,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.