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 Greece and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Tehran 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 1970 at the first Onyeabor practice in a loft in Enugu.
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 Altered Images to the crunk 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 Michelle Simonal. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Urselle,
Royal Trux,
Althea and Donna,
World's Most,
Blancmange,
John Holt,
Depeche Mode,
The Stooges,
Johnny Osbourne,
The Mummies,
Oneida,
The Dirtbombs,
Lou Reed & John Cale,
Gil Scott Heron,
New York Dolls,
Loose Ends,
Kango’s Stein Massive,
Cymande,
Soulsonic Force,
Andrew Hill,
Deakin,
Eurythmics,
Tropical Tobacco,
Erasure,
Thee Headcoats,
Bobby Sherman,
The Beau Brummels,
Goldenarms,
Pantytec,
Boogie Down Productions,
8 Eyed Spy,
Dawn Penn,
The Electric Prunes,
The Divine Comedy,
Make Up,
Man Parrish,
Slick Rick,
Big Daddy Kane,
Television,
Dave Gahan,
The Offenders,
Gang Starr,
Nik Kershaw,
Simply Red,
Mark Hollis,
The Mighty Diamonds,
Vladislav Delay,
Mo-Dettes,
Sugar Minott,
Avey Tare's Slasher Flicks,
Manfred Mann's Earth Band,
Blossom Toes,
Kas Product,
Hardrive,
June Days,
Fugazi,
Public Image Ltd.,
Crash Course in Science,
Half Japanese,
The Peanut Butter Conspiracy,
Hashim,
Eddi Front,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.