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 Portugal 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 1966 to 1974.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Lyon 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 Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Sight & Sound to the punk kids.
I played it at the Crocodile.
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 Music Machine. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Robert Hood,
Alice Coltrane,
Cecil Taylor,
Kas Product,
The J.B.'s,
Q65,
Eden Ahbez,
Sly & The Family Stone,
the Germs,
Amon Düül,
Orchestral Manoeuvres in the Dark,
John Holt,
Half Japanese,
Thompson Twins,
Y Pants,
Deepchord,
Lucky Dragons,
Traffic Nightmare,
Erykah Badu,
The Evens,
Jawbox,
Thee Headcoats,
Black Flag,
Eric B and Rakim,
Donny Hathaway,
Louis and Bebe Barron,
Don Cherry,
The United States of America,
Minnie Riperton,
Swans,
Q and Not U,
Duran Duran,
R.M.O.,
The Raincoats,
The Slackers,
The Fire Engines,
K-Klass,
Popol Vuh,
The Slits,
Richard Hell and the Voidoids,
Tomorrow,
Lightning Bolt,
Lou Christie,
Gian Franco Pienzio,
Los Fastidios,
Maleditus Sound,
Can,
Roy Ayers Ubiquity,
Kerrie Biddell,
The Victims,
The Real Kids,
Ash Ra Tempel,
Cybotron,
Sun Ra Arkestra,
Ice-T,
Freddie Wadling,
Notorious BIG live in Amsterdam,
the Fania All-Stars,
10cc,
Ajijia Myrayebe,
B.T. Express,
Jerry's Kids,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.