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 Iran and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in London and Salvador.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Joyce Sims to the jazz 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 The Jesus and Mary Chain. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Art Ensemble Of Chicago,
Pagans,
U.S. Maple,
Zero Boys,
Franke,
Stiv Bators,
Desert Stars,
The West Coast Pop Art Experimental Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Misunderstood,
Amon Düül II,
Notorious Big And Bone Thugs,
The Pretty Things,
Babytalk,
Schoolly D,
Jesper Dahlbäck,
Toni Rubio,
Junior Murvin,
The Associates,
Ronan,
Kayak,
Archie Shepp,
Larry & the Blue Notes,
F. McDonald,
Vainqueur,
The Fortunes,
Jacob Miller,
Marc Almond,
The Zeros,
Rhythim Is Rhythim,
Funky Four + One,
Matthew Bourne,
the Fania All-Stars,
Young Marble Giants,
Eden Ahbez,
Echospace,
Kerrie Biddell,
Lalo Schifrin,
Black Pus,
Livin' Joy,
Public Image Ltd.,
Scion,
Hardrive,
Liaisons Dangereuses,
Colin Newman,
Skarface,
Los Fastidios,
Juan Atkins,
Buzzcocks,
Jimmy McGriff,
The Vogues,
Angels of Light & Akron/Family,
the Normal,
Justin Hinds & The Dominoes,
Red Lorry Yellow Lorry,
Soul Sonic Force,
Minny Pops,
Kas Product,
Quantec, Quantec, Quantec, Quantec.
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.