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 Argentina and from Manila.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 E-Dancer to the electroclash kids.
I played it at the 40 Watt.
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 K-Klass. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every The Monks 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 '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Man Parrish,
Nick Cave & The Bad Seeds,
Freddie Wadling,
Barclay James Harvest,
Sun Ra Arkestra,
Faust,
PIL,
Saccharine Trust,
Gian Franco Pienzio,
The Fortunes,
Heaven 17,
Gil Scott-Heron and Jamie xx,
Newcleus,
Johnny Osbourne,
Charles Mingus,
Panda Bear,
Al Stewart,
New York Dolls,
The Motions,
Josef K,
Soft Cell,
Accadde A,
Qualms,
FM Einheit,
Reagan Youth,
Skaos,
Drive Like Jehu,
Country Teasers,
K-Klass,
The Residents,
Aloha Tigers,
AZ,
Roy Ayers,
Bob Dylan,
The Jesus and Mary Chain,
The West Coast Pop Art Experimental Band,
48th St. Collective,
Chrome,
Sex Pistols,
Vladislav Delay,
Absolute Body Control,
Todd Terry,
Terry Callier,
Rotary Connection,
Barry Ungar,
Joyce Sims,
Supertramp,
The Names,
Arcadia,
kango's stein massive,
Sister Nancy,
EPMD,
Gabor Szabo,
Quando Quango,
Funky Four + One,
Magazine,
Public Image Ltd.,
Skarface,
Minor Threat,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.