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 Austria and from Houston.
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 1977.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Lyon 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 Lou Reed 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 Nation of Ulysses to the rap 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 Tubeway Army. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Juan Atkins,
Schoolly D,
Mad Mike,
Aural Exciters,
The American Breed,
Bronski Beat,
Hoover,
Fluxion,
Public Image Ltd.,
Hot Snakes,
Archie Shepp,
Inner City,
Vainqueur,
Lucky Dragons,
The Last Poets,
Wolf Eyes,
Dark Day,
Harpers Bizarre,
Yazoo,
Moby Grape,
Radiopuhelimet,
Sixth Finger,
Morten Harket,
Barclay James Harvest,
The Fuzztones,
Essential Logic,
Teenage Jesus and the Jerks,
The Moleskins,
Gil Scott Heron,
Thinking Fellers Union Local 282,
Throbbing Gristle,
Spoonie Gee,
Jeru the Damaja,
The Leaves,
Danielle Patucci,
The Dead C,
Eurythmics,
Jacques Brel,
Art Ensemble Of Chicago,
Gang Gang Dance,
Yusef Lateef,
Symarip,
Supertramp,
Alison Limerick,
Kenny Larkin,
Ornette Coleman,
Index,
Metal Thangz,
Second Layer,
Dead Boys,
Matthew Bourne,
Thompson Twins,
De La Soul & Jungle Brothers,
Bluetip,
Parry Music,
X-102,
the Soft Cell,
Prince Buster,
Radiohead,
Television,
ABC,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.