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 St Lucia and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Accra 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Walker Brothers to the crunk kids.
I played it at the Roxy.
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 Theoretical Girls. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Ronan 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Andrew Hill,
Supertramp,
Lou Christie,
The Gladiators,
Minnie Riperton,
The Techniques,
Fifty Foot Hose,
Pantytec,
a-ha,
Rhythim Is Rhythim,
Hashim,
Reagan Youth,
OOIOO,
Gong,
Young Marble Giants,
Boogie Down Productions,
Swell Maps,
Joe Smooth,
Anthony Braxton,
Wings,
London Community Gospel Choir,
Ohio Players,
Radiohead,
The Smiths,
Darondo,
Barry Ungar,
Quadrant,
Lucky Dragons,
Grauzone,
Amazonics,
Y Pants,
Pulsallama,
Arthur Verocai,
Reuben Wilson,
Soft Machine,
Thee Headcoats,
Barclay James Harvest,
ABC,
Schoolly D,
Robert Görl,
Lonnie Liston Smith,
Ralphi Rosario,
Stockholm Monsters,
Desert Stars,
Erasure,
The Residents,
Röyhkä ja Rättö ja Lehtisalo,
Marmalade,
The Black Dice,
The Monochrome Set,
Organ,
kango's stein massive,
Brothers Johnson,
Procol Harum,
Rosa Yemen,
Shoche,
Silicon Teens,
James Chance & The Contortions,
Surgeon,
Andrew Ashong & Theo Parrish,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.