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 Laos and from Tokyo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Spokane 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Quando Quango to the dance kids.
I played it at CBGB's.
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 Royal Family And The Poor. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Toni Rubio,
Röyhkä ja Rättö ja Lehtisalo,
Joyce Sims,
Faust,
Interpol,
KRS-One,
Model 500,
Blancmange,
The Blackbyrds,
Wire,
10cc,
DNA,
Marc Almond,
Barrington Levy,
Lou Christie,
Black Moon,
Don Cherry,
MDC,
The Evens,
Agitation Free,
Fluxion,
Stiv Bators,
Bob Dylan,
Pylon,
Tears for Fears,
Bobby Byrd,
Liaisons Dangereuses,
Supertramp,
Sparks,
Lindisfarne,
Anthony Braxton,
The Sisters of Mercy,
Bootsy Collins,
Piero Umiliani,
Little Man,
Moebius,
Marshall Jefferson,
The Birthday Party,
Sonic Youth,
Sixth Finger,
Be Bop Deluxe,
Echo & the Bunnymen,
Tomorrow,
Franke,
Eli Mardock,
Tommy Roe,
Lucky Dragons,
Japan,
Ornette Coleman,
Tom Boy,
The Count Five,
The Busters,
Kango’s Stein Massive,
Roy Ayers,
It's A Beautiful Day,
Sunsets and Hearts,
Josef K,
The Move,
Monks,
Graham Central Station,
Quantec, Quantec, Quantec, Quantec.
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.