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 Egypt and from Cairo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Shanghai.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the oboe 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 DeepChord presents Echospace to the rap kids.
I played it at the Astoria.
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 American Breed. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Vaughan Mason & Crew,
Second Layer,
Tomorrow,
Eurythmics,
Pantytec,
Stockholm Monsters,
Parry Music,
R.M.O.,
Kango’s Stein Massive,
Steve Hackett,
Silicon Teens,
The Count Five,
The Pretty Things,
Bad Manners,
Connie Case,
Lou Christie,
Marc Almond,
Stereo Dub,
Oblivians,
Wings,
Sam Rivers,
Matthew Bourne,
Sandy B,
Bauhaus,
The Sisters of Mercy,
Arab on Radar,
Marvin Gaye,
DJ Style,
Echo & the Bunnymen,
Ossler,
Patti Smith,
Roxette,
Cal Tjader,
Unrelated Segments,
Ice-T,
Fifty Foot Hose,
Soulsonic Force,
Panda Bear,
Desert Stars,
Kurtis Blow,
8 Eyed Spy,
Glambeats Corp.,
Heaven 17,
The Doors,
Ultravox,
cv313,
John Cale,
Justin Hinds & The Dominoes,
The Index,
Skriet,
Albert Ayler,
Arthur Verocai,
Terrestrial Tones,
The Residents,
T. Rex,
Erasure,
Japan,
Alice Coltrane,
Selector Dub Narcotic,
H. Thieme,
Eyeless In Gaza,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.