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 Turkey 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 1974.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Jesus and Mary Chain to the funk 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 Mojo Men. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every UT 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Crash Course in Science,
Kerri Chandler,
Cameo,
CMW,
Pylon,
The Alarm Clocks,
Monolake,
Cal Tjader,
Dorothy Ashby,
Los Fastidios,
The Angels of Light,
The Peanut Butter Conspiracy,
Heavy D & The Boyz,
Saccharine Trust,
Bill Wells,
John Lydon,
Hot Snakes,
MC5,
Ossler,
Andrew Hill,
This Heat,
Barbara Tucker,
Shoche,
Funky Four + One,
Rhythim Is Rhythim,
Jacob Miller,
Grauzone,
Moebius,
Lyres,
Deakin,
Arab on Radar,
The West Coast Pop Art Experimental Band,
In Retrospect,
Harry Pussy,
Pere Ubu,
Television Personalities,
Youth Brigade,
John Holt,
The Monks,
Eli Mardock,
Tomorrow,
Rosa Yemen,
Smog,
The Wake,
The Leaves,
Visage,
Goldenarms,
Gil Scott-Heron and Jamie xx,
Johnny Osbourne,
Crispy Ambulance,
London Community Gospel Choir,
Niagra,
The Monochrome Set,
Liaisons Dangereuses,
Con Funk Shun,
Marc Almond,
Scrapy,
Ronnie Foster,
Newcleus,
Curtis Mayfield,
Eurythmics,
Marshall Jefferson,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.