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 Guyana and from Delhi.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Taipei and Lille.
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 rhodes sounds with much patience.
I was there when Michael McDonald 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 American Breed to the electroclash kids.
I played it at the Roxy.
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 Eve St. Jones. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Sällskapet,
The Count Five,
Johnny Osbourne,
The Gun Club,
The Selecter,
Drive Like Jehu,
Lungfish,
Kerri Chandler,
OOIOO,
Ultramagnetic MC's,
Urselle,
Jeru the Damaja,
Curtis Mayfield,
New Age Steppers,
Essential Logic,
CMW,
Althea and Donna,
Skarface,
Chris Corsano,
Byron Stingily,
The Star Department,
Eli Mardock,
James White and The Blacks,
Gichy Dan,
The Chocolate Watch Band,
Marshall Jefferson,
Scratch Acid,
Funky Four + One,
Black Sheep,
Donny Hathaway,
Neil Young & Crazy Horse,
China Crisis,
The Saints,
Grandmaster Flash,
Todd Rundgren,
Eric B and Rakim,
Visionaries,LMNO, T- Love & Iriscience,
Junior Murvin,
Jacob Miller,
Morten Harket,
Lalo Schifrin,
Ultravox,
Nation of Ulysses,
Pantytec,
The Sonics,
Pylon,
L. Decosne,
Traffic Nightmare,
Blossom Toes,
Arcadia,
Brass Construction,
Heavy D & The Boyz,
Pharaoh Sanders and the Fire Engines,
David McCallum,
Agitation Free,
Strawberry Alarm Clock,
Intrusion,
Alphaville,
X-102,
The Seeds,
ABBA,
MC5,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.