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 Maldives and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school London 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 mellotron 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 Sarah Menescal to the grime kids.
I played it at the Hacienda.
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 Bill Wells. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Bob Dylan,
Soft Machine,
Brothers Johnson,
Barclay James Harvest,
DNA,
D'Angelo,
Sonny Sharrock,
Fela Kuti,
Jeru the Damaja,
Robert Hood,
EPMD,
Joey Negro,
Vaughan Mason & Crew,
Archie Shepp,
H. Thieme,
The Misunderstood,
The Index,
The Invisible,
Crooked Eye,
Adolescents,
Blossom Toes,
X-101,
Johnny Osbourne,
Babytalk,
E-Dancer,
Johnny Clarke,
Desert Stars,
Curtis Mayfield,
Manfred Mann's Earth Band,
The Peanut Butter Conspiracy,
Subhumans,
The J.B.'s,
Erasure,
Davy DMX,
Young Marble Giants,
Lebanon Hanover,
The Mojo Men,
Loose Ends,
48th St. Collective,
Bobby Sherman,
Deepchord,
Bad Manners,
The Leaves,
Harmonia,
Easy Going,
Stetsasonic,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
Tim Buckley,
Tom Boy,
Lalann,
the Normal,
Terror Squad Feat. Camron,
Tropical Tobacco,
Peter Gordon & Love of Life Orchestra,
Soul Sonic Force,
Boz Scaggs,
Iggy Pop,
Lungfish,
Zapp,
Maleditus Sound,
Robert Görl,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.