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 Uganda and from Milan.
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 Manchester and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Can practice in a loft in Cologne.
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 Sister Nancy to the crunk 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 Procol Harum. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Bang On A Can,
Kango’s Stein Massive,
Traffic Nightmare,
Infiniti,
Pete Rock & C.L. Smooth,
The Mojo Men,
Kool G Rap & DJ Polo,
Sarah Menescal,
Pere Ubu,
Sun Ra Arkestra,
Marmalade,
Mo-Dettes,
Sixth Finger,
Ajijia Myrayebe,
Nas,
Lightning Bolt,
Bob Dylan,
Agent Orange,
Patti Smith,
EPMD,
Glenn Branca,
Sight & Sound,
Kenny Larkin,
Negative Approach,
The Skatalites,
Ten City,
Tears for Fears,
John Holt,
Al Stewart,
Max Romeo,
Deepchord,
Piero Umiliani,
ABC,
June of 44,
Deakin,
Matthew Halsall,
The Slits,
The Detroit Cobras,
Kas Product,
Liaisons Dangereuses,
Siouxsie and the Banshees,
Sex Pistols,
Girls At Our Best!,
Brass Construction,
Underground Resistance,
Be Bop Deluxe,
Arab on Radar,
Deadbeat,
Funkadelic,
Sällskapet,
Gary Puckett & The Union Gap,
DJ Sneak,
Main Source,
The Royal Family And The Poor,
Ultimate Spinach,
Curtis Mayfield,
Gregory Isaacs,
DNA,
Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog.
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.