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 Lesotho and from Lille.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the snare 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 Flash Fearless to the punk 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 Matthew Halsall. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Thee Headcoats,
Deakin,
Big Daddy Kane,
Pere Ubu,
Tom Boy,
The Fugs,
Sight & Sound,
Eddi Front,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Röyhkä ja Rättö ja Lehtisalo,
The Mighty Diamonds,
Bad Manners,
The Happenings,
John Cale,
Curtis Mayfield,
B.T. Express,
The Fire Engines,
Donald Byrd,
DJ Style,
Piero Umiliani,
Mr. Review,
Bobby Byrd,
Kas Product,
The Barracudas,
Fela Kuti,
Bang On A Can,
Ultravox,
Super Lover Cee & Casanova Rud,
Pantaleimon,
Byron Stingily,
The Human League,
Darondo,
Suburban Knight,
Main Source,
Peter & Gordon,
Visionaries,LMNO, T- Love & Iriscience,
Babytalk,
Soft Machine,
E-Dancer,
Joe Finger,
Wasted Youth,
Sly & The Family Stone,
KRS-One,
Nick Cave & The Bad Seeds,
Masters at Work,
Groovy Waters,
Moby Grape,
Pussy Galore,
Stiv Bators,
Stockholm Monsters,
Index,
Susan Cadogan,
Hot Snakes,
L. Decosne,
Q and Not U,
Magazine,
The Pop Group,
Robert Hood,
Alphaville,
Oneida,
Animal Collective,
Kurtis Blow,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.