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 Cuba and from Philadelphia.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 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 Kenny Larkin to the dance 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 Derrick May. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Funkadelic 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 '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Groovy Waters,
a-ha,
Todd Rundgren,
T.S.O.L.,
Half Japanese,
Bang On A Can,
Wire,
Q65,
H. Thieme,
Wighnomy Brothers & Robag Wruhme,
Bauhaus,
Thee Headcoats,
Tommy Roe,
Ponytail,
DeepChord presents Echospace,
Visage,
Main Source,
Loose Ends,
cv313,
Porter Ricks,
Soft Machine,
The Pop Group,
The Flesh Eaters,
Scion,
Dead Boys,
The Angels of Light,
The Kinks,
Saccharine Trust,
The Slits,
The Gap Band,
The Slackers,
Ralphi Rosario,
Rahsaan Roland Kirk,
James White and The Blacks,
Joe Smooth,
Siouxsie and the Banshees,
Marmalade,
A Certain Ratio,
Japan,
Negative Approach,
Super Lover Cee & Casanova Rud,
Rosa Yemen,
Howard Jones,
Masters at Work,
Sarah Menescal,
Gil Scott Heron,
Aswad,
Cymande,
Ajijia Myrayebe,
Fugazi,
OOIOO,
Gian Franco Pienzio,
Echospace,
Anthony Braxton,
Eric Copeland,
Todd Terry,
Oblivians,
Terrestrial Tones,
Scientists,
Archie Shepp,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.