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 Latvia and from Sao Paulo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 funk 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 The Buckinghams. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago 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?
Kevin Saunderson,
T.S.O.L.,
Sexual Harrassment,
The Last Poets,
a-ha,
Blake Baxter,
Quando Quango,
8 Eyed Spy,
Leonard Cohen,
A Flock of Seagulls,
Yusef Lateef,
The Dirtbombs,
John Cale,
H. Thieme,
Althea and Donna,
The Martian,
Jimmy McGriff,
The Sound,
48th St. Collective,
Wire,
Reagan Youth,
Crispy Ambulance,
The Moody Blues,
Negative Approach,
Fad Gadget,
Eyeless In Gaza,
X-Ray Spex,
Monolake,
Electric Prunes,
Terry Callier,
Circle Jerks,
June Days,
The Mighty Diamonds,
Average White Band,
Half Japanese,
Gary Puckett & The Union Gap,
Whodini,
Fat Boys,
Davy DMX,
Tres Demented,
Rhythm & Sound,
The Index,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
Grandmaster Flash and the Furious Five,
Essential Logic,
Camron Feat. Memphis Bleek And Beenie Seigel,
Orchestral Manoeuvres in the Dark,
The Zeros,
Soft Machine,
The Blues Magoos,
Peter Gordon & Love of Life Orchestra,
Josef K,
Quadrant,
Skaos,
Goldenarms,
The Cure,
Nik Kershaw,
Eden Ahbez,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.