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 Costa Rica and from Lyon.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 La Düsseldorf to the disco kids.
I played it at the Astoria.
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 Selecter. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Warren Ellis,
Fat Boys,
Kaleidoscope,
Aural Exciters,
The Evens,
The J.B.'s,
Alton Ellis,
Skriet,
Marc Almond,
Althea and Donna,
Aswad,
Shuggie Otis,
The Kinks,
Tomorrow,
Bootsy Collins,
Blancmange,
Eric Copeland,
David Axelrod,
Brick,
Delon & Dalcan,
Cymande,
Ituana,
Idris Muhammad,
Procol Harum,
The Mighty Diamonds,
The Fire Engines,
Captain Beefheart & His Magic Band,
Gang of Four,
Isaac Hayes,
Severed Heads,
The Seeds,
Stetsasonic,
Arthur Verocai,
Kauko Röyhkä ja Narttu,
The Barracudas,
Circle Jerks,
Rosa Yemen,
Soul II Soul,
The Sound,
Animal Collective,
Black Bananas,
Drexciya,
Young Marble Giants,
Vaughan Mason & Crew,
Scott Walker + Sunn O))),
Prince Buster,
Quantec,
Peter and Kerry,
New Age Steppers,
The Cramps,
Al Stewart,
Connie Case,
Half Japanese,
Manfred Mann's Earth Band,
Boredoms,
the Fania All-Stars,
The West Coast Pop Art Experimental Band,
Public Enemy,
Cabaret Voltaire,
Pharoah Sanders,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.