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 Poland and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Paris 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Graham Central Station to the rap kids.
I played it at the Roxy.
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 Cal Tjader. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal rock 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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,
The Neon Judgement,
R.M.O.,
Pantaleimon,
The Seeds,
Andrew Hill,
Cecil Taylor,
Crispy Ambulance,
Sandy B,
The Detroit Cobras,
In Retrospect,
Strawberry Alarm Clock,
H. Thieme,
John Lydon,
David Bowie,
Visionaries,LMNO, T- Love & Iriscience,
Röyhkä ja Rättö ja Lehtisalo,
Grey Daturas,
Bobby Byrd,
Sonic Youth,
Justin Hinds & The Dominoes,
The Litter,
Thompson Twins,
Sarah Menescal,
X-101,
Frankie Knuckles,
The Slackers,
Kango’s Stein Massive,
MDC,
AZ,
Al Stewart,
London Community Gospel Choir,
Flamin' Groovies,
Bobbi Humphrey,
The Fuzztones,
The Angels of Light,
Bob Dylan,
David Axelrod,
Glambeats Corp.,
Davy DMX,
Livin' Joy,
Lakeside,
Delon & Dalcan,
Art Ensemble Of Chicago,
Swell Maps,
Skriet,
Judy Mowatt,
Rufus Thomas,
Nick Cave & The Bad Seeds,
John Holt,
Avey Tare,
Maleditus Sound,
Shuggie Otis,
Sly & The Family Stone,
The Royal Family And The Poor,
Vladislav Delay,
Mars,
Bronski Beat,
Marcia Griffiths,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.