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 Liechtenstein and from Spokane.
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 1970.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Popol Vuh to the techno kids.
I played it at Cafe Wha.
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 Kenny Larkin. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
X-Ray Spex,
Saccharine Trust,
Don Cherry,
Avey Tare,
Richard Hell and the Voidoids,
Colin Newman,
Camouflage,
Blake Baxter,
Rosa Yemen,
Bobbi Humphrey,
Henry Cow,
Chris & Cosey,
Avey Tare's Slasher Flicks,
Goldenarms,
Harmonia,
Alphaville,
Sun Ra Arkestra,
Joe Finger,
Hasil Adkins,
Black Moon,
The Toasters,
Gil Scott Heron,
Theoretical Girls,
Iggy Pop,
Icehouse,
Symarip,
The Mummies,
Scan 7,
MDC,
Lou Christie,
Cecil Taylor,
Gang of Four,
The Cure,
Heaven 17,
Graham Central Station,
Wasted Youth,
Notorious Big And Bone Thugs,
Dorothy Ashby,
Skarface,
Letta Mbulu,
Susan Cadogan,
Roy Ayers Ubiquity,
Talk Talk,
Unrelated Segments,
Davy DMX,
Infiniti,
Sight & Sound,
Erasure,
Gil Scott-Heron & Brian Jackson,
Sarah Menescal,
Jerry's Kids,
Kas Product,
The Gun Club,
The Gap Band,
the Normal,
Country Teasers,
Sixth Finger,
The Seeds,
The Invisible,
Gil Scott-Heron and Jamie xx,
E-Dancer,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.