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 Bremen.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 The Five Americans to the electroclash 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 Notorious BIG live in Amsterdam. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Black Pus,
The Smoke,
Siouxsie and the Banshees,
Accadde A,
The Techniques,
X-102,
Organ,
The Young Rascals,
Heaven 17,
Quando Quango,
Pylon,
Roy Ayers Ubiquity,
Bill Near,
Ossler,
Cybotron,
Major Organ And The Adding Machine,
Aloha Tigers,
Soul II Soul,
Ultravox,
Sun City Girls,
Little Man,
Albert Ayler,
Terror Squad Feat. Camron,
Ralphi Rosario,
Roxy Music,
Von Mondo,
the Human League,
Ultimate Spinach,
The Saints,
Gil Scott Heron,
Eli Mardock,
H. Thieme,
Bad Manners,
Unwound,
Faraquet,
The West Coast Pop Art Experimental Band,
Funkadelic,
Amon Düül,
June Days,
Andrew Ashong & Theo Parrish,
Skriet,
Soft Cell,
Qualms,
Rapeman,
John Cale,
The Misunderstood,
Black Flag,
DJ Sneak,
Kerri Chandler,
Cameo,
Absolute Body Control,
Nation of Ulysses,
The Modern Lovers,
Althea and Donna,
Ornette Coleman,
Judy Mowatt,
London Community Gospel Choir,
Don Cherry,
Super Lover Cee & Casanova Rud,
Rhythm & Sound,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.