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 Russia and from Spokane.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Bremen 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Johnny Osbourne to the funk kids.
I played it at Trash.
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 John Holt. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal rock 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Jesper Dahlback,
Moby Grape,
Procol Harum,
Black Sheep,
Man Eating Sloth,
the Association,
Chris & Cosey,
Average White Band,
Surgeon,
Jacob Miller,
Smog,
Ponytail,
Barrington Levy,
Unrelated Segments,
The Red Krayola,
The Slits,
The Fortunes,
Tommy Roe,
The Neon Judgement,
Zapp,
Richard Hell and the Voidoids,
The Techniques,
Soulsonic Force,
The Gladiators,
Black Flag,
The Martian,
Section 25,
The Zeros,
Maurizio,
Theoretical Girls,
It's A Beautiful Day,
Grauzone,
Jerry's Kids,
X-102,
Max Romeo,
Fluxion,
Bootsy's Rubber Band,
The Dead C,
Cabaret Voltaire,
Jacques Brel,
Nas,
Gang of Four,
Quadrant,
Negative Approach,
Nick Fraelich,
Beasts of Bourbon,
Depeche Mode,
John Coltrane,
Dave Gahan,
The Evens,
Zero Boys,
Marvin Gaye,
Cal Tjader,
Minutemen,
Icehouse,
Tubeway Army,
The Residents,
The Star Department,
Amon Düül II,
The Monochrome Set,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.