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 Madagascar 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 1961 to 1970.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Philadelphia 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 Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 Moby Grape to the jazz kids.
I played it at the Troubador.
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 Niagra. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Stereo Dub 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 Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Half Japanese,
Judy Mowatt,
Orchestral Manoeuvres in the Dark,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mars,
The Barracudas,
Japan,
Rotary Connection,
Yazoo,
Vladislav Delay,
Hoover,
Ultravox,
the Normal,
Eddi Front,
Procol Harum,
The Last Poets,
Vainqueur,
OOIOO,
Ultimate Spinach,
Crime,
Eve St. Jones,
Jeff Mills,
Louis and Bebe Barron,
Essential Logic,
The Tremeloes,
Public Enemy,
Yaz,
Camberwell Now,
Inner City,
Das Ding,
Roxy Music,
Animal Collective,
Nation of Ulysses,
Peter and Kerry,
Fat Boys,
Smog,
The Kinks,
Banda Bassotti,
Magazine,
The Pop Group,
Ossler,
Angels of Light & Akron/Family,
Boredoms,
Mary Jane Girls,
Roy Ayers Ubiquity,
Youth Brigade,
Cecil Taylor,
Schoolly D,
the Soft Cell,
Bobby Womack,
Dr. Dre and Snoop Doggy Dog,
The Trojans,
The Index,
Soft Machine,
Fear,
Nick Fraelich,
DeepChord presents Echospace,
Franke,
The Peanut Butter Conspiracy,
The Gun Club,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.