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 Slovakia and from Paris.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Gun Club to the funk 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 UT. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Bill Wells,
Marmalade,
The Moody Blues,
Cecil Taylor,
Lalann,
The Leaves,
Susan Cadogan,
Television,
Judy Mowatt,
Matthew Bourne,
Duran Duran,
Roy Ayers,
Au Pairs,
Black Moon,
Rosa Yemen,
Suicide,
La Düsseldorf,
Reagan Youth,
Aural Exciters,
Man Parrish,
Quantec,
Little Man,
Oblivians,
Dennis Brown,
The Gladiators,
James Chance & The Contortions,
the Normal,
Sunsets and Hearts,
The Grass Roots,
Crispian St. Peters,
Kerri Chandler,
Gastr Del Sol,
Black Flag,
Donald Byrd,
Vaughan Mason & Crew,
Livin' Joy,
Skriet,
Motorama,
Ponytail,
Con Funk Shun,
The Five Americans,
Junior Murvin,
Maurizio,
Zero Boys,
Funkadelic,
the Sonics,
Warsaw,
The Skatalites,
Major Organ And The Adding Machine,
Prince Buster,
Neil Young & Crazy Horse,
Derrick May,
Oneida,
Manfred Mann's Earth Band,
Sonny Sharrock,
Eden Ahbez,
Matthew Halsall,
Connie Case,
The American Breed,
Rhythm & Sound,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.