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 Tajikistan and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Interpol to the rock kids.
I played it at Cafe Wha.
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 Jeff Mills. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Todd Terry 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
The Moody Blues,
Newcleus,
OOIOO,
Parry Music,
Whodini,
The Pop Group,
Subhumans,
T.S.O.L.,
Saccharine Trust,
Shuggie Otis,
Aaron Thompson,
Lyres,
Josef K,
Blancmange,
Mr. Review,
Sun Ra Arkestra,
The Residents,
Sad Lovers and Giants,
The Move,
Alton Ellis,
The Toasters,
The Mojo Men,
Ronnie Foster,
Surgeon,
Trumans Water,
A Flock of Seagulls,
Jerry Gold Smith,
Avey Tare,
R.M.O.,
Röyhkä ja Rättö ja Lehtisalo,
Cymande,
Hot Snakes,
Glenn Branca,
Lightning Bolt,
Sun City Girls,
Marc Romboy vs. Booka Shade,
Colin Newman,
Byron Stingily,
The Zeros,
Sight & Sound,
Isaac Hayes,
Monks,
Mark Hollis,
Youth Brigade,
The Human League,
Harmonia,
Minor Threat,
Kauko Röyhkä ja Narttu,
Alphaville,
The Happenings,
Kas Product,
Bob Dylan,
Sexual Harrassment,
Soulsonic Force,
Jesper Dahlback,
The Wake,
Be Bop Deluxe,
Gian Franco Pienzio,
The Grass Roots,
F. McDonald,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.