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 Georgia and from Taipei.
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 1971.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 Chic practice in a loft in New York.
I was working on the harpsichord 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 Camberwell Now to the electroclash kids.
I played it at the 40 Watt.
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 Faraquet. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Kas Product,
Oneida,
Joensuu 1685,
Marc Almond,
Skaos,
Soulsonic Force,
The Dirtbombs,
K-Klass,
Gong,
Model 500,
The Busters,
Ohio Players,
L. Decosne,
MDC,
Echospace,
Cecil Taylor,
Rufus Thomas,
Maleditus Sound,
Strawberry Alarm Clock,
Marmalade,
Kerri Chandler,
Rahsaan Roland Kirk,
The Angels of Light,
Spandau Ballet,
The Count Five,
Jacob Miller,
These Immortal Souls,
FM Einheit,
Mission of Burma,
The Neon Judgement,
Cabaret Voltaire,
Man Parrish,
The Cramps,
Infiniti,
Intrusion,
Pagans,
The Kinks,
Piero Umiliani,
Soft Machine,
Procol Harum,
Kool G Rap & DJ Polo,
Lalo Schifrin,
Young Marble Giants,
Aural Exciters,
Lower 48,
Cameo,
Massinfluence,
Kenny Larkin,
Subhumans,
Absolute Body Control,
Marine Girls,
Jawbox,
Gang of Four,
Faraquet,
Johnny Osbourne,
Yazoo,
Andrew Hill,
Flash Fearless,
Shoche,
the Human League,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.