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 Ireland and from Philadelphia.
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 Winnipeg and Paris.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when David Bowie 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 Monks to the disco kids.
I played it at Trash.
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 Underground Resistance. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every The Gun Club 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Alison Limerick,
F. McDonald,
Sarah Menescal,
Juan Atkins,
Terrestrial Tones,
Sad Lovers and Giants,
Moss Icon,
The Grass Roots,
Soul Sonic Force,
Clear Light,
Hardrive,
The Jesus and Mary Chain,
Echospace,
Q65,
Angels of Light & Akron/Family,
LL Cool J,
Niagra,
The Detroit Cobras,
Rod Modell,
Country Teasers,
Symarip,
T.S.O.L.,
Livin' Joy,
Connie Case,
Radio Birdman,
Sun City Girls,
Animal Collective,
The Seeds,
Vladislav Delay,
The Dirtbombs,
Talk Talk,
Banda Bassotti,
Matthew Halsall,
Lafayette Afro Rock Band,
The Martian,
Barclay James Harvest,
Shoche,
Hoover,
Curtis Mayfield,
Nation of Ulysses,
The Black Dice,
Magma,
Gichy Dan,
Funkadelic,
Urselle,
Grandmaster Flash and the Furious Five,
Slave,
Kaleidoscope,
Kenny Larkin,
The Wake,
Kevin Saunderson,
The Count Five,
David McCallum,
The Happenings,
Peter and Kerry,
Jerry Gold Smith,
Bizarre Inc.,
Index,
The Skatalites,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.