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 Uzbekistan and from Calgary.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Lee Hazlewood to the electroclash 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 Urselle. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Icehouse 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Black Sheep,
Matthew Bourne,
China Crisis,
The Seeds,
Blake Baxter,
Lalann,
Make Up,
Pagans,
Los Fastidios,
Anthony Braxton,
Lower 48,
The Grass Roots,
The Litter,
Lindisfarne,
The Cramps,
The Men They Couldn't Hang,
Hoover,
The Chocolate Watch Band,
Flamin' Groovies,
Echospace,
Notorious BIG live in Amsterdam,
Swell Maps,
Minny Pops,
London Community Gospel Choir,
Groovy Waters,
Nick Cave & The Bad Seeds,
Todd Terry,
Blossom Toes,
Scratch Acid,
Kerri Chandler,
Harpers Bizarre,
The Angels of Light,
The Last Poets,
Q65,
Wings,
Siglo XX,
The Remains,
Stiv Bators,
Sun Ra Arkestra,
Interpol,
Alice Coltrane,
Bush Tetras,
The Dave Clark Five,
The Electric Prunes,
Monolake,
Bauhaus,
Japan,
Harry Pussy,
Piero Umiliani,
The Jesus and Mary Chain,
48th St. Collective,
Grauzone,
Eric B and Rakim,
Roger Hodgson,
World's Most,
Avey Tare & Kría Brekkan,
Gang of Four,
Can,
Moebius, Moebius, Moebius, Moebius.
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.