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 Colombia and from Beijing.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
I'm losing my edge to the art-school London 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Walker Brothers to the grunge kids.
I played it at Cafe Wha.
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 Theoretical Girls. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
June of 44,
DNA,
Richard Hell and the Voidoids,
Loose Ends,
Roy Ayers Ubiquity,
The Golliwogs,
Rahsaan Roland Kirk,
Babytalk,
Lou Christie,
Derrick Morgan,
The New Christs,
the Association,
The Detroit Cobras,
Au Pairs,
The Misunderstood,
Sam Rivers,
Kerrie Biddell,
Rufus Thomas,
The Smiths,
The Evens,
Fear,
Bad Manners,
Parry Music,
Crooked Eye,
Liaisons Dangereuses,
The Blackbyrds,
Bobby Byrd,
Danielle Patucci,
The Neon Judgement,
Marc Romboy vs. Booka Shade,
The Mojo Men,
Sällskapet,
Yaz,
Avey Tare,
Pole,
Deutsch Amerikanische Freundschaft,
Eli Mardock,
Gang Gang Dance,
Nas,
Jerry's Kids,
The Blues Magoos,
The Angels of Light,
Cal Tjader,
Deakin,
Major Organ And The Adding Machine,
Chris Corsano,
Altered Images,
The Young Rascals,
Crime,
Minnie Riperton,
The Sound,
Camberwell Now,
Warren Ellis,
FM Einheit,
Matthew Bourne,
Procol Harum,
The Invisible,
Section 25,
Gil Scott-Heron & Brian Jackson,
The Remains,
Electric Light Orchestra,
David McCallum,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.