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 Grenada and from Paris.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Bobby Hutcherson to the punk kids.
I played it at Trash.
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 Pulsallama. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Vainqueur,
Gerry Rafferty,
The Knickerbockers,
R.M.O.,
Lalo Schifrin,
Kerrie Biddell,
Cecil Taylor,
Barclay James Harvest,
Traffic Nightmare,
Hashim,
Peter and Kerry,
Kerri Chandler,
Mr. Review,
The Velvet Underground,
Lou Reed & Metallica,
Section 25,
the Slits,
Nils Olav,
The Sisters of Mercy,
Harpers Bizarre,
Man Parrish,
Make Up,
Organ,
Grandmaster Flash,
Ten City,
Desert Stars,
kango's stein massive,
the Swans,
Jacob Miller,
Sixth Finger,
Juan Atkins,
Lightning Bolt,
The Blues Magoos,
Cymande,
Siouxsie and the Banshees,
Zapp,
June Days,
Crime,
Anakelly,
Scan 7,
Bluetip,
Nirvana,
Icehouse,
The Detroit Cobras,
Suicide,
Susan Cadogan,
Delta 5,
Avey Tare & Kría Brekkan,
Tom Boy,
Moby Grape,
Von Mondo,
Crispian St. Peters,
Smog,
Ituana,
Scratch Acid,
Marcia Griffiths,
Gang Green,
Bill Wells,
The Gories,
Manfred Mann's Earth Band,
Intrusion,
Dead Boys,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.