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 Philippines and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Madrid.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Godley & Creme to the punk kids.
I played it at the 40 Watt.
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 Boogie Down Productions. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal rap 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Velvet Underground,
Dr. Dre and Snoop Doggy Dog,
Funky Four + One,
Funkadelic,
Lalo Schifrin,
Gong,
Drive Like Jehu,
Vainqueur,
Sarah Menescal,
Little Man,
Nik Kershaw,
Pantytec,
Deadbeat,
the Soft Cell,
Ornette Coleman,
Silicon Teens,
Notorious BIG live in Amsterdam,
Electric Prunes,
Terry Callier,
Echospace,
Youth Brigade,
Todd Rundgren,
Erasure,
Beasts of Bourbon,
Bauhaus,
Todd Terry,
Röyhkä ja Rättö ja Lehtisalo,
Section 25,
Pylon,
Ituana,
The Gladiators,
Donald Byrd,
Black Flag,
D'Angelo,
Idris Muhammad,
DeepChord presents Echospace,
K-Klass,
ABC,
Mark Hollis,
Dead Boys,
Eli Mardock,
Faust,
Brand Nubian,
The Fall,
The Associates,
Parry Music,
Althea and Donna,
The United States of America,
Sandy B,
Ossler,
Gil Scott-Heron and Jamie xx,
Wire,
The Litter,
Susan Cadogan,
Negative Approach,
Depeche Mode,
Smog,
Goldenarms,
Reuben Wilson,
The Five Americans,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.