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 Malaysia 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 1969 to 1977.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
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 theremin 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 Marcia Griffiths to the dance kids.
I played it at the Hacienda.
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 Sarah Menescal. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Soul II Soul,
Michelle Simonal,
Khruangbin,
The New Christs,
Saccharine Trust,
Ohio Players,
Barry Ungar,
Bang on a Can All-Stars,
DeepChord presents Echospace,
Nik Kershaw,
Scrapy,
Sex Pistols,
Grey Daturas,
Unrelated Segments,
Sam Rivers,
Avey Tare & Kría Brekkan,
Neil Young,
Franke,
Chris & Cosey,
Fugazi,
Maleditus Sound,
Subhumans,
Alton Ellis,
Barbara Tucker,
Eli Mardock,
Sparks,
James Chance & The Contortions,
Eurythmics,
Joy Division,
X-Ray Spex,
Warsaw,
Howard Jones,
Trumans Water,
Al Stewart,
The Pretty Things,
a-ha,
Kevin Saunderson,
James White and The Blacks,
Bush Tetras,
The Durutti Column,
Aural Exciters,
New Order,
Rotary Connection,
The Real Kids,
The Stooges,
London Community Gospel Choir,
Newcleus,
Stockholm Monsters,
Girls At Our Best!,
Prince Buster,
Interpol,
Jacques Brel,
One Last Wish,
Talk Talk,
La Düsseldorf,
Ultravox,
Schoolly D,
Black Bananas,
The Fuzztones,
Louis and Bebe Barron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.