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 Nicaragua and from London.
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 1978.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Camberwell Now to the dance kids.
I played it at the Troubador.
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 Second Layer. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Teenage Jesus and the Jerks,
Pulsallama,
Boz Scaggs,
Drive Like Jehu,
Bizarre Inc.,
Desert Stars,
Susan Cadogan,
Alphaville,
Lou Reed & John Cale,
Justin Hinds & The Dominoes,
Marvin Gaye,
Fatback Band,
Talk Talk,
The Gap Band,
Gil Scott Heron,
The Litter,
Lindisfarne,
Camberwell Now,
Zapp,
The Alarm Clocks,
The New Christs,
Traffic Nightmare,
Sight & Sound,
Chris & Cosey,
Peter & Gordon,
Flash Fearless,
A Flock of Seagulls,
The Sound,
Kerri Chandler,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Bill Wells,
Rahsaan Roland Kirk,
Rod Modell,
Maleditus Sound,
Lungfish,
Juan Atkins,
Ludus,
Scott Walker + Sunn O))),
Fugazi,
The American Breed,
The Names,
Lyres,
The Index,
The Mojo Men,
Mark Hollis,
Cal Tjader,
The Misunderstood,
The Moody Blues,
Masters at Work,
Davy DMX,
Donald Byrd,
Bobby Sherman,
Godley & Creme,
Lonnie Liston Smith,
Khruangbin,
Quando Quango,
Icehouse,
Black Flag,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.