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 Switzerland and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Lagos 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 oboe 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 Andrew Hill to the disco 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 Sandy B. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Rotary Connection 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Trumans Water record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Essential Logic,
Nation of Ulysses,
Pharaoh Sanders and the Fire Engines,
Ultravox,
Art Ensemble Of Chicago,
Gang Gang Dance,
The Misunderstood,
Sunsets and Hearts,
Popol Vuh,
Niagra,
Radiopuhelimet,
Minnie Riperton,
Bobby Byrd,
Dark Day,
John Lydon,
Chris & Cosey,
Terry Callier,
Joey Negro,
Mo-Dettes,
Subhumans,
Bad Manners,
Dennis Brown,
48th St. Collective,
Desert Stars,
The Angels of Light,
Laurel Aitken,
The Sound,
Parry Music,
Big Daddy Kane,
Robert Hood,
Swans,
Traffic Nightmare,
The Fire Engines,
David Bowie,
Masters at Work,
Rakim,
Roy Ayers Ubiquity,
Danielle Patucci,
Monks,
John Holt,
Soul II Soul,
the Soft Cell,
Pet Shop Boys,
Eric Dolphy,
Lebanon Hanover,
The Shadows of Knight,
Barrington Levy,
The Peanut Butter Conspiracy,
Fat Boys,
MDC,
La Düsseldorf,
Reagan Youth,
Black Sheep,
The Move,
Vladislav Delay,
Bootsy Collins,
Don Cherry,
Idris Muhammad,
Maleditus Sound,
The Techniques, The Techniques, The Techniques, The Techniques.
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.