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 Ecuador and from Toronto.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Camron Feat. Jay Z And Juelz to the disco kids.
I played it at the Astoria.
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 Tim Buckley. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Moss Icon,
Aaron Thompson,
Funkadelic,
Vladislav Delay,
Thee Headcoats,
Iggy Pop,
Black Bananas,
John Holt,
Lower 48,
Brass Construction,
In Retrospect,
Eric Copeland,
Janne Schatter,
Wighnomy Brothers & Robag Wruhme,
Sun City Girls,
Röyhkä ja Rättö ja Lehtisalo,
The Techniques,
Grandmaster Flash,
Mad Mike,
Deutsch Amerikanische Freundschaft,
Dawn Penn,
Mary Jane Girls,
Wings,
Marvin Gaye,
Hardrive,
Dr. Dre and Snoop Doggy Dog,
Porter Ricks,
Masters at Work,
Subhumans,
The Fall,
Hasil Adkins,
The Electric Prunes,
Juan Atkins,
The Dave Clark Five,
Supertramp,
the Soft Cell,
Lou Christie,
The Trojans,
Soul II Soul,
Maleditus Sound,
Infiniti,
The Mummies,
Average White Band,
A Certain Ratio,
Dorothy Ashby,
Spandau Ballet,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Amon Düül,
The Offenders,
Cybotron,
Zapp,
Pete Rock & C.L. Smooth,
Major Organ And The Adding Machine,
Bill Wells,
The Moody Blues,
Sun Ra Arkestra,
Letta Mbulu,
Jesper Dahlbäck,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.