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 Estonia and from Madrid.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Lee Hazlewood to the jazz kids.
I played it at the Crocodile.
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 Arthur Verocai. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Bob Dylan,
Gichy Dan,
Goldenarms,
Sam Rivers,
The Smoke,
John Lydon,
Selector Dub Narcotic,
D'Angelo,
Inner City,
Little Man,
Masters at Work,
The Zeros,
Michelle Simonal,
Davy DMX,
cv313,
Icehouse,
AZ,
Y Pants,
Major Organ And The Adding Machine,
Adolescents,
Alton Ellis,
Sixth Finger,
Mr. Review,
Hot Snakes,
Maleditus Sound,
Absolute Body Control,
The Mighty Diamonds,
Ultra Naté,
Black Sheep,
Swell Maps,
Lucky Dragons,
Alison Limerick,
Avey Tare's Slasher Flicks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Susan Cadogan,
Glambeats Corp.,
Marmalade,
Graham Central Station,
June of 44,
N.O.R.E. Featuring Pharrell,
Lou Reed,
Crispian St. Peters,
Organ,
Eyeless In Gaza,
Ornette Coleman,
Easy Going,
Tommy Roe,
Tropical Tobacco,
Wighnomy Brothers & Robag Wruhme,
kango's stein massive,
DeepChord presents Echospace,
Bronski Beat,
The Angels of Light,
Gang of Four,
JFA,
Magazine,
Unrelated Segments,
Khruangbin,
De La Soul & Jungle Brothers,
Boredoms, Boredoms, Boredoms, Boredoms.
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.