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 Czech Republic and from Seoul.
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 1978.
I'm losing my edge.
To all the kids in Manila and Shanghai.
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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 The Velvet Underground to the funk kids.
I played it at the Roxy.
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 Kenny Larkin. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Terrestrial Tones 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Panda Bear record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
James Chance & The Contortions,
Japan,
Sister Nancy,
Sex Pistols,
The Fall,
The Evens,
Gang of Four,
Captain Beefheart & His Magic Band,
Oneida,
Ituana,
Rhythm & Sound,
Louis and Bebe Barron,
Negative Approach,
Byron Stingily,
F. McDonald,
Sound Behaviour,
Maurizio,
Minny Pops,
Wolf Eyes,
Rahsaan Roland Kirk,
Cameo,
Peter and Kerry,
Marcia Griffiths,
Oppenheimer Analysis,
H. Thieme,
Joensuu 1685,
The Grass Roots,
Nik Kershaw,
Masters at Work,
Skriet,
Dead Boys,
Monks,
Iggy Pop,
La Düsseldorf,
U.S. Maple,
Fela Kuti,
Underground Resistance,
New Order,
Ice-T,
The Wake,
June of 44,
Mad Mike,
Jandek,
The Monochrome Set,
The Happenings,
Massinfluence,
Jacques Brel,
Roy Ayers,
Kool G Rap & DJ Polo,
Bang On A Can,
The Beau Brummels,
Fifty Foot Hose,
The Shadows of Knight,
John Coltrane,
Half Japanese,
Richard Hell and the Voidoids,
Jeff Lynne,
Glambeats Corp.,
Siglo XX,
Flamin' Groovies,
Prince Buster,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.