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 Mali and from Manila.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Skarface to the grunge 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 Absolute Body Control. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Parry Music,
Jacques Brel,
Rotary Connection,
Orchestral Manoeuvres in the Dark,
The Buckinghams,
The Sisters of Mercy,
Heaven 17,
Fad Gadget,
The Chocolate Watch Band,
Davy DMX,
Kaleidoscope,
Depeche Mode,
Captain Beefheart & His Magic Band,
Sällskapet,
Cheater Slicks,
Josef K,
Sly & The Family Stone,
Public Image Ltd.,
Grandmaster Flash and the Furious Five,
X-101,
Marvin Gaye,
Robert Wyatt,
Sugar Minott,
Peter Gordon & Love of Life Orchestra,
The Angels of Light,
Amon Düül II,
Crooked Eye,
The Fall,
Lizzy Mercier Descloux,
The American Breed,
Faust,
Roxy Music,
Red Lorry Yellow Lorry,
The Moody Blues,
ABBA,
The Martian,
Matthew Halsall,
Yaz,
Rekid,
Rufus Thomas,
Soft Cell,
Negative Approach,
Q and Not U,
Lee Hazlewood,
Sarah Menescal,
Youth Brigade,
Johnny Clarke,
Marmalade,
Tommy Roe,
Popol Vuh,
Sad Lovers and Giants,
The Cramps,
The Smoke,
Todd Terry,
Man Parrish,
Minnie Riperton,
Gary Puckett & The Union Gap,
Magazine,
Flipper,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.