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 Marshall Islands and from Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Lyon 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 güiro 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 Soul Sonic Force to the disco 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 Smiths. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Oppenheimer Analysis,
Ornette Coleman,
JFA,
Cluster,
The Selecter,
Country Joe & The Fish,
Underground Resistance,
Sam Rivers,
Aaron Thompson,
Make Up,
Kenny Larkin,
Terry Callier,
Drexciya,
Moss Icon,
Bobby Sherman,
Henry Cow,
Mandrill,
Brass Construction,
Althea and Donna,
Eli Mardock,
DJ Sneak,
The Fire Engines,
the Human League,
Pharoah Sanders,
the Association,
Michelle Simonal,
Andrew Hill,
The Cramps,
The Royal Family And The Poor,
Livin' Joy,
Harry Pussy,
Sun Ra Arkestra,
The Busters,
Agitation Free,
Howard Jones,
The Fugs,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
Mr. Review,
Interpol,
Main Source,
Camouflage,
Al Stewart,
Ultra Naté,
The United States of America,
Bill Near,
The Count Five,
Bob Dylan,
Bobbi Humphrey,
Angels of Light & Akron/Family,
The Beau Brummels,
Deakin,
Hashim,
Nico,
Average White Band,
Sparks,
Jeff Lynne,
Ash Ra Tempel,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.