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 Vietnam and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Jakarta 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 1970 at the first Onyeabor practice in a loft in Enugu.
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 Bauhaus to the disco 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 Vaughan Mason & Crew. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
The Detroit Cobras,
Gian Franco Pienzio,
Fluxion,
MDC,
Slave,
Dead Boys,
Bobby Hutcherson,
The Moody Blues,
Boz Scaggs,
The Fortunes,
Underground Resistance,
Fort Wilson Riot,
The Jesus and Mary Chain,
Radiohead,
Reuben Wilson,
Jeff Mills,
Blossom Toes,
Barbara Tucker,
Joyce Sims,
The Smiths,
Rapeman,
Niagra,
X-102,
Pharoah Sanders,
The Tremeloes,
Bootsy's Rubber Band,
Hoover,
Juan Atkins,
Theoretical Girls,
Goldenarms,
The Royal Family And The Poor,
The Dead C,
Saccharine Trust,
The Fuzztones,
Man Eating Sloth,
Todd Rundgren,
Animal Collective,
Organ,
The Knickerbockers,
Max Romeo,
Ituana,
Tres Demented,
Minnie Riperton,
Ronan,
Susan Cadogan,
Eve St. Jones,
The Cramps,
Flipper,
Zapp,
DNA,
Clear Light,
K-Klass,
Shoche,
The Count Five,
Henry Cow,
Major Organ And The Adding Machine,
Nico,
Eli Mardock,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.