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 Armenia and from Bologna.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Shanghai 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 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 Ornette Coleman to the jazz 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 Crispian St. Peters. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Lee Hazlewood,
Aural Exciters,
Hasil Adkins,
Drexciya,
Porter Ricks,
Saccharine Trust,
Jeru the Damaja,
Television,
Clear Light,
Michelle Simonal,
Don Cherry,
Pantaleimon,
Half Japanese,
Kerrie Biddell,
Brothers Johnson,
Fat Boys,
Henry Cow,
Visionaries,LMNO, T- Love & Iriscience,
The Motions,
Minny Pops,
Young Marble Giants,
Pantytec,
Lungfish,
Terrestrial Tones,
Con Funk Shun,
Vaughan Mason & Crew,
The Standells,
This Heat,
The American Breed,
Joyce Sims,
Rhythm & Sound,
Mission of Burma,
Radiopuhelimet,
Rotary Connection,
Robert Görl,
Moby Grape,
Sparks,
Sound Behaviour,
The Trojans,
The Red Krayola,
Notorious BIG live in Amsterdam,
Deakin,
Kurtis Blow,
Khruangbin,
Tres Demented,
Hardrive,
New York Dolls,
The Gladiators,
Lizzy Mercier Descloux,
Duran Duran,
ABC,
Severed Heads,
Teenage Jesus and the Jerks,
Traffic Nightmare,
48th St. Collective,
Gary Puckett & The Union Gap,
Derrick Morgan,
James Chance & The Contortions,
Bobby Byrd,
Spoonie Gee,
The Monks, The Monks, The Monks, The Monks.
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.