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 Saudi Arabia and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Winnipeg.
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 snare 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 Soft Cell to the jazz kids.
I played it at the Spitz.
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 Grandmaster Flash. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
The Doobie Brothers,
Juan Atkins,
The Litter,
World's Most,
Second Layer,
Soul Sonic Force,
The Searchers,
London Community Gospel Choir,
Notorious Big And Bone Thugs,
Gabor Szabo,
Young Marble Giants,
Soul II Soul,
David Axelrod,
The Stooges,
Kauko Röyhkä ja Narttu,
The Mummies,
Peter and Kerry,
Nico,
Grauzone,
Moss Icon,
Anthony Braxton,
Oppenheimer Analysis,
The Electric Prunes,
Ultravox,
Panda Bear,
The Names,
Bob Dylan,
Kas Product,
Suicide,
Khruangbin,
Thinking Fellers Union Local 282,
Vainqueur,
Negative Approach,
These Immortal Souls,
Skriet,
Laurel Aitken,
48th St. Collective,
Gian Franco Pienzio,
The Pretty Things,
The Cowsills,
Nik Kershaw,
Nick Fraelich,
Prince Buster,
T.S.O.L.,
the Germs,
Talk Talk,
Section 25,
Charles Mingus,
Whodini,
Isaac Hayes,
Barclay James Harvest,
Symarip,
Boredoms,
The Techniques,
Derrick May,
Parry Music,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
The Gap Band,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.