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 Korea South and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Spokane.
I'm losing my edge to the art-school Philadelphia 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 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 Aaron Thompson to the jazz kids.
I played it at Trash.
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 Standells. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Althea and Donna,
Ken Boothe,
Cymande,
Can,
Smog,
Delta 5,
Black Moon,
Rhythim Is Rhythim,
Erasure,
Joy Division,
JFA,
Trumans Water,
Thompson Twins,
Lou Reed & John Cale,
John Lydon,
Negative Approach,
Super Lover Cee & Casanova Rud,
Soul Sonic Force,
Echospace,
The Electric Prunes,
Mantronix,
Connie Case,
Susan Cadogan,
Excepter,
Graham Central Station,
Colin Newman,
Albert Ayler,
Arab on Radar,
Harry Pussy,
The Fuzztones,
Moss Icon,
June of 44,
Bootsy's Rubber Band,
KRS-One,
The Divine Comedy,
Arcadia,
Barbara Tucker,
Leonard Cohen,
Brass Construction,
L. Decosne,
Gil Scott-Heron and Jamie xx,
Crime,
Derrick Morgan,
Pierre Henry,
Tubeway Army,
a-ha,
Banda Bassotti,
Joey Negro,
Chris Corsano,
Scratch Acid,
Ohio Players,
James Chance & The Contortions,
Throbbing Gristle,
The Gories,
Todd Terry,
Sister Nancy,
Groovy Waters,
Justin Hinds & The Dominoes,
Idris Muhammad,
Sam Rivers,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.