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 Rwanda and from London.
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 Madrid and Manila.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Man Parrish to the techno kids.
I played it at Trash.
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 Terrestrial Tones. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Andrew Ashong & Theo Parrish,
Bizarre Inc.,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Supertramp,
Byron Stingily,
Black Moon,
Sarah Menescal,
Ash Ra Tempel,
The American Breed,
Lou Reed,
Bill Wells,
The Fuzztones,
Dennis Brown,
Unwound,
Aloha Tigers,
Harpers Bizarre,
Y Pants,
a-ha,
Lower 48,
JFA,
The Pretty Things,
Pylon,
Camberwell Now,
Scientists,
The Names,
Cymande,
The Music Machine,
Mantronix,
E-Dancer,
Basic Channel,
Erasure,
Larry & the Blue Notes,
Davy DMX,
Gabor Szabo,
Wolf Eyes,
Scratch Acid,
Ice-T,
Youth Brigade,
Gil Scott-Heron and Jamie xx,
Joyce Sims,
Royal Trux,
Peter & Gordon,
Dave Gahan,
The Fall,
The Selecter,
The United States of America,
The Index,
Big Daddy Kane,
The Chocolate Watch Band,
London Community Gospel Choir,
Visage,
Altered Images,
Jacob Miller,
The Offenders,
Section 25,
James Chance & The Contortions,
Severed Heads,
CMW,
Scott Walker,
Glambeats Corp.,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.