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 Edmonton.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school New York 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 Donald Fagen 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 Alison Limerick to the electroclash 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 Grandmaster Flash. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
The Dave Clark Five,
ABBA,
Arthur Verocai,
Gichy Dan,
Sixth Finger,
Johnny Clarke,
Juan Atkins,
Spoonie Gee,
X-102,
Robert Hood,
Hot Snakes,
Television,
Angels of Light & Akron/Family,
Au Pairs,
Roxy Music,
The Red Krayola,
Black Bananas,
Eyeless In Gaza,
Eric Copeland,
The Seeds,
Bronski Beat,
Vladislav Delay,
Lafayette Afro Rock Band,
The Happenings,
Letta Mbulu,
Man Eating Sloth,
Ornette Coleman,
Massinfluence,
Malaria!,
Arab on Radar,
B.T. Express,
James Chance & The Contortions,
World's Most,
Scratch Acid,
Deadbeat,
Cluster,
Sunsets and Hearts,
T. Rex,
Sound Behaviour,
Lou Reed,
Sex Pistols,
Boredoms,
The Victims,
Lungfish,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Scion,
MC5,
ABC,
The Evens,
Gil Scott-Heron and Jamie xx,
Radio Birdman,
UT,
Youth Brigade,
Rites of Spring,
The Litter,
Alton Ellis,
Roger Hodgson,
Stockholm Monsters,
Pete Rock & C.L. Smooth,
Red Lorry Yellow Lorry,
Scrapy,
Crispian St. Peters,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.