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 Mauritius and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Manila and Bologna.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the oboe 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 The Sisters of Mercy to the funk 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 the Bar-Kays. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Faust,
the Normal,
Nas,
Con Funk Shun,
Todd Terry,
Thinking Fellers Union Local 282,
Ice-T,
The Human League,
Soft Cell,
Lou Reed & John Cale,
Unrelated Segments,
Newcleus,
kango's stein massive,
Los Fastidios,
Heaven 17,
Japan,
Crispian St. Peters,
Sam Rivers,
Chris & Cosey,
X-101,
Rufus Thomas,
Fatback Band,
AZ,
a-ha,
Skriet,
Kas Product,
Colin Newman,
The Move,
Marvin Gaye,
Sticky Fingaz feat. Raekwon,
Sällskapet,
The Dead C,
Glambeats Corp.,
Index,
Bush Tetras,
X-Ray Spex,
Derrick Morgan,
Gong,
Vaughan Mason & Crew,
Pere Ubu,
The Music Machine,
James White and The Blacks,
Tres Demented,
The Litter,
Erykah Badu,
Circle Jerks,
Terrestrial Tones,
Surgeon,
Eric Dolphy,
Pagans,
Bill Near,
Kango’s Stein Massive,
Monolake,
Aaron Thompson,
Andrew Hill,
The Detroit Cobras,
Gil Scott-Heron and Jamie xx,
Neil Young,
Avey Tare & Kría Brekkan,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.