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 Milan.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Mexico City 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron 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 Mad Mike 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 Susan Cadogan. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Public Image Ltd. 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 '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Gang of Four,
London Community Gospel Choir,
Bill Near,
Boredoms,
Khruangbin,
Symarip,
10cc,
Kayak,
Kool Moe Dee,
Fat Boys,
Fort Wilson Riot,
Motorama,
Pierre Henry,
Eric Copeland,
A Certain Ratio,
Soft Machine,
Bob Dylan,
Kings Of Tomorrow,
Marc Romboy vs. Booka Shade,
cv313,
Unrelated Segments,
June of 44,
Joe Finger,
New Age Steppers,
Joensuu 1685,
Funkadelic,
Be Bop Deluxe,
OOIOO,
Terrestrial Tones,
Masters at Work,
Nick Cave & The Bad Seeds,
Section 25,
Desert Stars,
Minnie Riperton,
Angry Samoans,
Jesper Dahlback,
Public Image Ltd.,
Nick Fraelich,
Sight & Sound,
Steve Hackett,
Pharaoh Sanders and the Fire Engines,
Barrington Levy,
Sister Nancy,
Robert Hood,
Dawn Penn,
D'Angelo,
Manfred Mann's Earth Band,
Kurtis Blow,
Rufus Thomas,
Negative Approach,
Gerry Rafferty,
Judy Mowatt,
Don Cherry,
The Slits,
John Holt,
David McCallum,
The Cramps,
Joy Division,
Super Lover Cee & Casanova Rud,
The Jesus and Mary Chain,
Kango’s Stein Massive,
Simply Red,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.