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 Chile and from Bremen.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Chrome to the dance kids.
I played it at the Spitz.
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 Country Joe & The Fish. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Michelle Simonal 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Peter & Gordon,
Thompson Twins,
Parry Music,
CMW,
kango's stein massive,
Babytalk,
Country Joe & The Fish,
Prince Buster,
The Selecter,
Dual Sessions,
James Chance & The Contortions,
Gabor Szabo,
Flamin' Groovies,
The Techniques,
Rod Modell,
U.S. Maple,
This Heat,
Cabaret Voltaire,
The Associates,
Echospace,
Neil Young & Crazy Horse,
Pulsallama,
La Düsseldorf,
Little Man,
The Dead C,
The Birthday Party,
The Gap Band,
The Trojans,
Hardrive,
Popol Vuh,
Arcadia,
Juan Atkins,
Sugar Minott,
Idris Muhammad,
Technova,
48th St. Collective,
Hasil Adkins,
Crispian St. Peters,
Andrew Ashong & Theo Parrish,
Glenn Branca,
Joey Negro,
Man Parrish,
DNA,
Unrelated Segments,
Barbara Tucker,
Liliput,
The Seeds,
Kerrie Biddell,
The Pretty Things,
The Dave Clark Five,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
D'Angelo,
DJ Sneak,
Marvin Gaye,
Avey Tare's Slasher Flicks,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.