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 Trinidad & Tobago and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Hong Kong 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Bobby Sherman to the techno 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 The Seeds. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Eyeless In Gaza,
Essential Logic,
The Birthday Party,
Tim Buckley,
Barry Ungar,
Pantaleimon,
the Slits,
Groovy Waters,
Deakin,
Scientists,
Black Pus,
The Knickerbockers,
Echospace,
The Fugs,
The Mojo Men,
The Cramps,
Sound Behaviour,
The Kinks,
Sam Rivers,
Theoretical Girls,
X-101,
Y Pants,
The Names,
The Gun Club,
Lungfish,
Youth Brigade,
Surgeon,
Gil Scott-Heron and Jamie xx,
Grey Daturas,
Mandrill,
Bang on a Can All-Stars,
Röyhkä ja Rättö ja Lehtisalo,
Darondo,
The Doors,
Motorama,
Charles Mingus,
The Golliwogs,
Swell Maps,
Zapp,
Dorothy Ashby,
The Saints,
Peter and Kerry,
The Invisible,
Heaven 17,
Be Bop Deluxe,
Nico,
Black Flag,
Amazonics,
Major Organ And The Adding Machine,
Organ,
Cymande,
Johnny Osbourne,
The Standells,
the Swans,
Lyres,
Selector Dub Narcotic,
Skaos,
Urselle,
Man Eating Sloth,
Isaac Hayes,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.