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 Kosovo and from Philadelphia.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Milan 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Ralphi Rosario to the jazz 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 Popol Vuh. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal crunk 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 a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
John Lydon,
Sixth Finger,
Drive Like Jehu,
Minnie Riperton,
Ohio Players,
Roxy Music,
Nico,
KRS-One,
The Sonics,
Rosa Yemen,
Nas,
Ultramagnetic MC's,
The Detroit Cobras,
The Divine Comedy,
Neu!,
Arthur Verocai,
Marshall Jefferson,
James Chance & The Contortions,
Camouflage,
Richard Hell and the Voidoids,
UT,
Saccharine Trust,
Whodini,
MC5,
Rakim,
Intrusion,
Lee Hazlewood,
Boz Scaggs,
Aural Exciters,
48th St. Collective,
Derrick May,
The Human League,
World's Most,
The Wake,
Sonic Youth,
Gang Green,
Fad Gadget,
Lonnie Liston Smith,
Sun Ra Arkestra,
This Heat,
Cluster,
Gang of Four,
Josef K,
Mad Mike,
the Association,
Nils Olav,
The Fire Engines,
Patti Smith,
Grandmaster Flash and the Furious Five,
It's A Beautiful Day,
Oblivians,
The J.B.'s,
Ludus,
Scion,
Oneida,
Rufus Thomas,
The Smoke,
The Dead C, The Dead C, The Dead C, The Dead C.
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.