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 Spain and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Edmonton 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 organ 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 Curtis Mayfield to the rock 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 Andrew Hill. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Joe Smooth record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
The Divine Comedy,
Yaz,
Carl Craig,
Rufus Thomas,
Peter & Gordon,
Jerry's Kids,
New Age Steppers,
Organ,
Marcia Griffiths,
Steve Hackett,
The Sonics,
Liliput,
Rhythm & Sound,
The Monochrome Set,
Tommy Roe,
Basic Channel,
Tomorrow,
Scratch Acid,
Lebanon Hanover,
Stiv Bators,
Todd Rundgren,
The Evens,
The Sisters of Mercy,
Avey Tare's Slasher Flicks,
Ultra Naté,
Notorious Big And Bone Thugs,
Electric Prunes,
Hardrive,
James White and The Blacks,
The Mummies,
Flipper,
Scion,
Camouflage,
The Peanut Butter Conspiracy,
Cabaret Voltaire,
Country Joe & The Fish,
Aural Exciters,
Anakelly,
Brothers Johnson,
Kool Moe Dee,
David Axelrod,
Gil Scott-Heron and Jamie xx,
Alison Limerick,
Eli Mardock,
Bill Near,
Siouxsie and the Banshees,
Soulsonic Force,
The Fugs,
Radiopuhelimet,
Funky Four + One,
Lee Hazlewood,
Schoolly D,
Freddie Wadling,
Crooked Eye,
Magazine,
Porter Ricks,
Gang Gang Dance,
Kaleidoscope,
Quando Quango,
Tim Buckley,
Red Lorry Yellow Lorry,
Bob Dylan,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.