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 Angola and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Seoul 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes 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 Last Poets to the disco kids.
I played it at the Hacienda.
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 Man Parrish. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Parry Music 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Flipper,
Piero Umiliani,
The Knickerbockers,
Ultimate Spinach,
Chris & Cosey,
New Order,
Lonnie Liston Smith,
Technova,
Dawn Penn,
Bob Dylan,
The Smiths,
Subhumans,
Pylon,
Ten City,
Bad Manners,
Pussy Galore,
The Modern Lovers,
Thee Headcoats,
Bobbi Humphrey,
Yellowson,
Ponytail,
Adolescents,
Skaos,
Ronan,
Wighnomy Brothers & Robag Wruhme,
Bootsy Collins,
Traffic Nightmare,
the Association,
Brand Nubian,
In Retrospect,
Nils Olav,
Oblivians,
Dave Gahan,
Clear Light,
Minutemen,
Andrew Ashong & Theo Parrish,
The Music Machine,
Gang Green,
Bobby Womack,
Brick,
Ultramagnetic MC's,
Dorothy Ashby,
Faraquet,
Unrelated Segments,
Organ,
Ohio Players,
K-Klass,
Albert Ayler,
Fear,
UT,
Icehouse,
Josef K,
Cybotron,
Lou Reed & Metallica,
Gil Scott Heron,
The Selecter,
Kevin Saunderson,
a-ha,
Sonic Youth,
Kool G Rap & DJ Polo,
The Blackbyrds,
Silicon Teens,
Amon Düül,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.