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 Moldova and from Columbus.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Arcadia to the jazz kids.
I played it at the Roxy.
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 Rapeman. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Rufus Thomas 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Eric B and Rakim,
The Toasters,
Stockholm Monsters,
Jimmy McGriff,
The Zeros,
Isaac Hayes,
Neu!,
The Music Machine,
The Gap Band,
Aswad,
David Axelrod,
Ornette Coleman,
Faraquet,
Sam Rivers,
Cluster,
The Angels of Light,
Rekid,
Cabaret Voltaire,
The Cure,
Nico,
Mission of Burma,
The Dave Clark Five,
Smog,
Jeru the Damaja,
Bill Near,
Deakin,
Ultravox,
The West Coast Pop Art Experimental Band,
The Beau Brummels,
The Sonics,
The Doors,
Eden Ahbez,
Little Man,
Pete Rock & C.L. Smooth,
Television,
Dual Sessions,
Eve St. Jones,
Erykah Badu,
Angry Samoans,
Heaven 17,
DJ Sneak,
Outsiders,
Rites of Spring,
Intrusion,
Anthony Braxton,
Gang Starr,
Con Funk Shun,
The Victims,
Gil Scott-Heron & Brian Jackson,
Avey Tare's Slasher Flicks,
The Gladiators,
ABC,
Susan Cadogan,
Television Personalities,
Lee Hazlewood,
Nirvana,
Average White Band,
Lyres,
Peter & Gordon,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.