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 Sri Lanka and from Beijing.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Liliput to the punk kids.
I played it at the Crocodile.
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 Soft Cell. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 The Knickerbockers record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Idris Muhammad,
The United States of America,
Lucky Dragons,
Juan Atkins,
Aural Exciters,
Blancmange,
Organ,
David Axelrod,
Judy Mowatt,
Crash Course in Science,
Porter Ricks,
Reuben Wilson,
the Association,
Schoolly D,
The Mighty Diamonds,
Sarah Menescal,
The Trojans,
Stiv Bators,
The Blues Magoos,
Ponytail,
Oblivians,
Magma,
Youth Brigade,
Ludus,
Crispian St. Peters,
Jandek,
Charles Mingus,
The Fortunes,
Sound Behaviour,
Rosa Yemen,
Fort Wilson Riot,
Lou Reed & John Cale,
a-ha,
The Human League,
Bronski Beat,
Marmalade,
Nik Kershaw,
The Young Rascals,
Cabaret Voltaire,
Funkadelic,
Icehouse,
Kas Product,
Pharoah Sanders,
Morten Harket,
Young Marble Giants,
Rites of Spring,
Loose Ends,
Rekid,
The West Coast Pop Art Experimental Band,
Archie Shepp,
Michelle Simonal,
Prince Buster,
Unrelated Segments,
Marine Girls,
Scratch Acid,
Hasil Adkins,
Röyhkä ja Rättö ja Lehtisalo,
Echospace,
Main Source,
Shuggie Otis,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.