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 El Salvador and from Copenhagen.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 The Sonics to the electroclash kids.
I played it at the 40 Watt.
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-102. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Carl Craig,
Lonnie Liston Smith,
Ultramagnetic MC's,
Lafayette Afro Rock Band,
Crash Course in Science,
Traffic Nightmare,
Main Source,
Cheater Slicks,
Lou Reed,
Patti Smith,
Basic Channel,
Derrick Morgan,
Archie Shepp,
Echo & the Bunnymen,
Barrington Levy,
Soul II Soul,
Josef K,
The Cowsills,
Maurizio,
Reagan Youth,
Orchestral Manoeuvres in the Dark,
The Cure,
The Offenders,
Pharoah Sanders,
Grandmaster Flash,
Mr. Review,
DNA,
Art Ensemble Of Chicago,
Sun City Girls,
The Slackers,
Whodini,
Magazine,
The Neon Judgement,
Gian Franco Pienzio,
World's Most,
Oppenheimer Analysis,
Brand Nubian,
Pulsallama,
Parry Music,
Symarip,
Television Personalities,
Lower 48,
Black Bananas,
The Selecter,
Anthony Braxton,
The Fugs,
Frankie Knuckles,
DJ Sneak,
Arthur Verocai,
The Music Machine,
Freddie Wadling,
Quando Quango,
Funkadelic,
Marcia Griffiths,
Eyeless In Gaza,
Roy Ayers Ubiquity,
Drive Like Jehu,
Bobby Sherman,
Bang On A Can,
Das Ding,
Scott Walker + Sunn O))),
Barry Ungar,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.