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 Bulgaria and from Manchester.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Shadows of Knight to the punk kids.
I played it at the Astoria.
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 Marc Almond. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Negative Approach,
Robert Görl,
Jeff Mills,
Bronski Beat,
Charles Mingus,
Robert Hood,
Rekid,
Spandau Ballet,
Patti Smith,
Andrew Ashong & Theo Parrish,
The Golliwogs,
Hardrive,
James White and The Blacks,
Neil Young & Crazy Horse,
The Victims,
Avey Tare & Kría Brekkan,
The Moleskins,
Kaleidoscope,
Barrington Levy,
Al Stewart,
Mad Mike,
Liaisons Dangereuses,
Swell Maps,
Pharoah Sanders,
The Last Poets,
Essential Logic,
In Retrospect,
Echospace,
Kauko Röyhkä ja Narttu,
Basic Channel,
Johnny Clarke,
Bang on a Can All-Stars,
Clear Light,
Bang On A Can,
The Moody Blues,
Bob Dylan,
Crash Course in Science,
Art Ensemble Of Chicago,
Richard Hell and the Voidoids,
Maleditus Sound,
Hashim,
Cal Tjader,
Shuggie Otis,
Albert Ayler,
the Fania All-Stars,
Gil Scott-Heron & Brian Jackson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Can,
Visionaries,LMNO, T- Love & Iriscience,
Kenny Larkin,
The Sisters of Mercy,
A Flock of Seagulls,
DNA,
Smog,
DJ Sneak,
The Selecter,
Soul II Soul,
The Vogues,
Robert Wyatt,
The Saints,
The Trojans,
Moss Icon,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.