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 Tonga and from Spokane.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Taipei 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 1976 at the first Chic practice in a loft in New York.
I was working on the organ 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 Marc Almond to the crunk kids.
I played it at the 40 Watt.
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 Pole. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Thee Headcoats,
The Royal Family And The Poor,
Motorama,
Fatback Band,
The Saints,
Rekid,
Byron Stingily,
Oneida,
Anakelly,
Buzzcocks,
The Names,
Soul Sonic Force,
Bobby Hutcherson,
Kenny Larkin,
Soft Machine,
The Divine Comedy,
Girls At Our Best!,
Barrington Levy,
Jerry Gold Smith,
Moby Grape,
Youth Brigade,
Technova,
Carl Craig,
Drive Like Jehu,
Arthur Verocai,
The Human League,
Super Lover Cee & Casanova Rud,
K-Klass,
The Remains,
MC5,
The Slits,
Monks,
Joey Negro,
Tomorrow,
Richard Hell and the Voidoids,
Althea and Donna,
Sight & Sound,
Captain Beefheart & His Magic Band,
Bobby Womack,
10cc,
Pierre Henry,
The Fuzztones,
Blancmange,
Q65,
Marine Girls,
Kauko Röyhkä ja Narttu,
Bill Near,
The Gun Club,
the Normal,
Juan Atkins,
The Alarm Clocks,
Jacques Brel,
Gregory Isaacs,
Pete Rock & C.L. Smooth,
The Mummies,
Todd Terry,
Be Bop Deluxe,
Rotary Connection,
Kool G Rap & DJ Polo,
Connie Case,
The Stooges,
Lalann, Lalann, Lalann, Lalann.
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.