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 Brunei and from Glasgow.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Columbus 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 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 Girls At Our Best! to the techno kids.
I played it at the Spitz.
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 Cabaret Voltaire. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The Gories,
R.M.O.,
Flipper,
Scratch Acid,
London Community Gospel Choir,
Delta 5,
Donald Byrd,
Kauko Röyhkä ja Narttu,
Funkadelic,
Captain Beefheart & His Magic Band,
The Fuzztones,
Gil Scott Heron,
Scrapy,
Loose Ends,
Clear Light,
JFA,
Darondo,
Howard Jones,
Roger Hodgson,
Pierre Henry,
Vaughan Mason & Crew,
Basic Channel,
Laurel Aitken,
Notorious BIG live in Amsterdam,
Kool Moe Dee,
Alice Coltrane,
Robert Wyatt,
It's A Beautiful Day,
Sexual Harrassment,
Thinking Fellers Union Local 282,
Camouflage,
Ultra Naté,
Ten City,
Matthew Bourne,
The Peanut Butter Conspiracy,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
Kaleidoscope,
Radiopuhelimet,
Lucky Dragons,
Aaron Thompson,
The Monks,
Roy Ayers,
Warsaw,
Kayak,
Neil Young,
Moss Icon,
Wasted Youth,
The Monochrome Set,
Bootsy Collins,
Amazonics,
World's Most,
The Invisible,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
Soft Machine,
Curtis Mayfield,
Black Pus,
Archie Shepp,
The Victims,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.