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 Malta and from Shanghai.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school New York 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Excepter to the funk 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 Notorious Big And Bone Thugs. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Bootsy's Rubber Band,
Lou Reed & Metallica,
Panda Bear,
Lizzy Mercier Descloux,
Frankie Knuckles,
Amon Düül II,
Television Personalities,
Nation of Ulysses,
Jesper Dahlback,
Jacob Miller,
Wolf Eyes,
Röyhkä ja Rättö ja Lehtisalo,
Lyres,
The Offenders,
Minor Threat,
Blossom Toes,
Boz Scaggs,
Stockholm Monsters,
Joey Negro,
Babytalk,
Oppenheimer Analysis,
Von Mondo,
The Stooges,
Jerry Gold Smith,
Scratch Acid,
Hashim,
The Birthday Party,
Kerri Chandler,
David Bowie,
Severed Heads,
Lou Christie,
Thompson Twins,
Alice Coltrane,
Bobby Byrd,
Anthony Braxton,
Curtis Mayfield,
Lalo Schifrin,
The Misunderstood,
Reuben Wilson,
Soft Machine,
The Skatalites,
R.M.O.,
Arcadia,
Cymande,
Erasure,
Procol Harum,
Lucky Dragons,
Minny Pops,
Jeff Mills,
Avey Tare's Slasher Flicks,
Ossler,
The Sisters of Mercy,
Saccharine Trust,
Stetsasonic,
The Residents,
Ultra Naté,
The Monochrome Set,
Brick,
Danielle Patucci,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.