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 Mauritania and from Tehran.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 A Flock of Seagulls to the dance 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 The Velvet Underground. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Pussy Galore 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 harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Pharoah Sanders,
The Knickerbockers,
John Coltrane,
Terrestrial Tones,
Fifty Foot Hose,
Tim Buckley,
The American Breed,
De La Soul & Jungle Brothers,
Crispy Ambulance,
Desert Stars,
Supertramp,
London Community Gospel Choir,
Jacques Brel,
F. McDonald,
Lalann,
Jacob Miller,
Groovy Waters,
The Young Rascals,
Kool G Rap & DJ Polo,
MDC,
X-Ray Spex,
The Black Dice,
Nick Fraelich,
The Litter,
Idris Muhammad,
Moss Icon,
Country Teasers,
the Soft Cell,
Judy Mowatt,
The Zeros,
Toni Rubio,
Soul II Soul,
The Electric Prunes,
The Walker Brothers,
Man Parrish,
Fort Wilson Riot,
New Order,
Eli Mardock,
Gil Scott Heron,
H. Thieme,
Prince Buster,
Curtis Mayfield,
The Vogues,
Lakeside,
Sandy B,
Babytalk,
Yaz,
Cameo,
Robert Wyatt,
Sparks,
Marvin Gaye,
Parry Music,
Letta Mbulu,
The Jesus and Mary Chain,
Peter and Kerry,
Dual Sessions,
Michelle Simonal,
Gang Starr,
Slick Rick,
The Tremeloes,
Vaughan Mason & Crew,
The Names,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.