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 Slovenia and from Manchester.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Jawbox to the electroclash kids.
I played it at the Crocodile.
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 Harry Pussy. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal rap 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 a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Delon & Dalcan,
These Immortal Souls,
The Gun Club,
Crash Course in Science,
Marcia Griffiths,
Eve St. Jones,
Sixth Finger,
Brand Nubian,
Kerrie Biddell,
Masters at Work,
Groovy Waters,
The Monochrome Set,
Rahsaan Roland Kirk,
New York Dolls,
The Shadows of Knight,
Eddi Front,
Spandau Ballet,
Terrestrial Tones,
Deakin,
ABBA,
Leonard Cohen,
Selector Dub Narcotic,
John Coltrane,
The Count Five,
Soft Machine,
Kool G Rap & DJ Polo,
Outsiders,
Johnny Osbourne,
The Moleskins,
Sun Ra Arkestra,
Oneida,
Black Pus,
Graham Central Station,
Zapp,
The Jesus and Mary Chain,
Whodini,
MC5,
Junior Murvin,
Godley & Creme,
Art Ensemble Of Chicago,
The Techniques,
The Cure,
Joe Smooth,
Crispian St. Peters,
ABC,
Rod Modell,
K-Klass,
Lonnie Liston Smith,
Negative Approach,
Blancmange,
Pantaleimon,
The Wake,
The Fire Engines,
Prince Buster,
Angry Samoans,
The Skatalites,
The Sisters of Mercy,
The Raincoats,
Unrelated Segments,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.