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 San Marino and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Rufus Thomas to the jazz 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 The Doobie Brothers. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Delon & Dalcan,
Sly & The Family Stone,
It's A Beautiful Day,
Sex Pistols,
Lakeside,
Thee Headcoats,
Porter Ricks,
Flipper,
Sällskapet,
Wolf Eyes,
Sarah Menescal,
The Blackbyrds,
Intrusion,
Avey Tare,
Pussy Galore,
The Shadows of Knight,
DNA,
the Slits,
The Cramps,
Leonard Cohen,
The Slackers,
Joy Division,
Tres Demented,
The Vogues,
Fela Kuti,
Marc Romboy vs. Booka Shade,
Gang Green,
EPMD,
John Coltrane,
Alton Ellis,
Little Man,
Ajijia Myrayebe,
Ken Boothe,
Newcleus,
China Crisis,
Moebius,
New Age Steppers,
Mandrill,
Whodini,
Dr. Dre and Snoop Doggy Dog,
the Germs,
The Moody Blues,
Teenage Jesus and the Jerks,
Gregory Isaacs,
The Saints,
The Remains,
Cal Tjader,
Tomorrow,
Bobby Womack,
Kango’s Stein Massive,
Swell Maps,
Howard Jones,
Lalann,
Colin Newman,
Minnie Riperton,
The West Coast Pop Art Experimental Band,
Bobby Byrd,
Drexciya,
Ohio Players,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.