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 Kiribati and from Philadelphia.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Interpol to the dance kids.
I played it at the Spitz.
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 Major Organ And The Adding Machine. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Lower 48,
Warsaw,
The Doors,
DJ Sneak,
Sly & The Family Stone,
Goldenarms,
Drive Like Jehu,
Moss Icon,
Soul II Soul,
James Chance & The Contortions,
Ronan,
Big Daddy Kane,
The Modern Lovers,
Bobby Womack,
Kenny Larkin,
Iggy Pop,
Gil Scott Heron,
Icehouse,
Inner City,
Quadrant,
Brand Nubian,
The United States of America,
The Remains,
Whodini,
The Moody Blues,
Glenn Branca,
Selector Dub Narcotic,
Sonny Sharrock,
The Peanut Butter Conspiracy,
Lafayette Afro Rock Band,
Kevin Saunderson,
Babytalk,
Gang Gang Dance,
Morten Harket,
Bob Dylan,
The Fall,
Ornette Coleman,
The Vogues,
Black Flag,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Arthur Verocai,
Fifty Foot Hose,
Sun City Girls,
Michelle Simonal,
Moby Grape,
Lou Reed & Metallica,
The Move,
Lou Reed,
Hoover,
Ken Boothe,
Gang Green,
Dorothy Ashby,
E-Dancer,
Marcia Griffiths,
Guru Guru,
Be Bop Deluxe,
Todd Rundgren,
Dual Sessions,
Peter and Kerry,
Supertramp, Supertramp, Supertramp, Supertramp.
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.