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 Chile and from Johannesburg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 David Bowie to the techno kids.
I played it at the Troubador.
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 Major Organ And The Adding Machine. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Alison Limerick,
Stetsasonic,
Albert Ayler,
China Crisis,
The Beau Brummels,
Parry Music,
Alice Coltrane,
Eyeless In Gaza,
Flipper,
Freddie Wadling,
Roxette,
Scott Walker + Sunn O))),
The Busters,
the Germs,
The Seeds,
Lee Hazlewood,
Drive Like Jehu,
Mark Hollis,
The Toasters,
Jandek,
Nation of Ulysses,
Sun City Girls,
Model 500,
Q and Not U,
Radiohead,
Boz Scaggs,
The United States of America,
Cluster,
the Bar-Kays,
Rosa Yemen,
Sunsets and Hearts,
Groovy Waters,
Pylon,
Laurel Aitken,
Bill Near,
Lafayette Afro Rock Band,
Lindisfarne,
Fela Kuti,
Byron Stingily,
The Black Dice,
Art Ensemble Of Chicago,
These Immortal Souls,
The Cowsills,
The Birthday Party,
Louis and Bebe Barron,
Monks,
Sarah Menescal,
Barbara Tucker,
Howard Jones,
Khruangbin,
The Flesh Eaters,
The Searchers,
The Invisible,
Brand Nubian,
Donald Byrd,
Second Layer,
Bang On A Can,
Tubeway Army,
The Techniques,
Talk Talk,
MDC,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.