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 Luxembourg and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 The Vogues to the grunge 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 Connie Case. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Gap Band 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Sad Lovers and Giants,
The Durutti Column,
Talk Talk,
Oblivians,
Loose Ends,
Donny Hathaway,
Barbara Tucker,
the Bar-Kays,
Country Teasers,
Tres Demented,
Depeche Mode,
The Skatalites,
The Stooges,
Brothers Johnson,
The Gap Band,
The West Coast Pop Art Experimental Band,
Negative Approach,
Peter & Gordon,
F. McDonald,
Dead Boys,
Mark Hollis,
Icehouse,
Sällskapet,
Aural Exciters,
Bronski Beat,
U.S. Maple,
Alison Limerick,
The Dead C,
John Cale,
L. Decosne,
Lakeside,
Lalo Schifrin,
a-ha,
Black Sheep,
The Mojo Men,
Delon & Dalcan,
LL Cool J,
Shuggie Otis,
Deadbeat,
D'Angelo,
Silicon Teens,
Lafayette Afro Rock Band,
Flamin' Groovies,
Soul Sonic Force,
The Knickerbockers,
the Swans,
Ludus,
Wasted Youth,
It's A Beautiful Day,
Massinfluence,
Blake Baxter,
Outsiders,
The Smoke,
Dawn Penn,
Bauhaus,
Byron Stingily,
Goldenarms,
Soft Cell,
Mission of Burma,
Bush Tetras,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.