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 Honduras and from Manila.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro 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 Freddie Wadling to the dance 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 Moody Blues. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
The Durutti Column,
Sight & Sound,
Bootsy Collins,
The Jesus and Mary Chain,
Flash Fearless,
The Tremeloes,
Slick Rick,
Funkadelic,
Scratch Acid,
The Happenings,
Barry Ungar,
Lightning Bolt,
Monolake,
The Walker Brothers,
Fear,
Deadbeat,
Peter and Kerry,
The Velvet Underground,
Lyres,
Matthew Halsall,
Morten Harket,
The Peanut Butter Conspiracy,
The Names,
Justin Hinds & The Dominoes,
the Swans,
London Community Gospel Choir,
X-101,
The Human League,
The Pop Group,
Selector Dub Narcotic,
Harmonia,
Bob Dylan,
Bang on a Can All-Stars,
KRS-One,
Cluster,
Ronnie Foster,
Make Up,
Deakin,
June Days,
Electric Prunes,
Silicon Teens,
Liaisons Dangereuses,
Eli Mardock,
Max Romeo,
Public Enemy,
Todd Terry,
Maleditus Sound,
Eddi Front,
Gil Scott-Heron and Jamie xx,
Panda Bear,
Byron Stingily,
Chris & Cosey,
Vaughan Mason & Crew,
Arcadia,
Röyhkä ja Rättö ja Lehtisalo,
Big Daddy Kane,
Jawbox,
Warren Ellis,
Japan,
Clear Light,
The Motions,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.