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 Colombia 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 1960 to 1977.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 The Men They Couldn't Hang to the jazz 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 Electric Prunes. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Chris & Cosey 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Masters at Work,
Wally Richardson,
Isaac Hayes,
Davy DMX,
Lalann,
Moebius,
Skriet,
Marc Almond,
Crispy Ambulance,
The Red Krayola,
Jerry Gold Smith,
Basic Channel,
Nas,
Don Cherry,
The Smoke,
Symarip,
Roxette,
Quando Quango,
Anakelly,
Ajijia Myrayebe,
Sex Pistols,
Lou Reed,
Minutemen,
Barry Ungar,
Dark Day,
Oneida,
Con Funk Shun,
Kas Product,
Bluetip,
Lindisfarne,
Josef K,
Simply Red,
Crash Course in Science,
Frankie Knuckles,
Joensuu 1685,
Visage,
Essential Logic,
The Techniques,
Roxy Music,
Pierre Henry,
Sound Behaviour,
Ten City,
Morten Harket,
Susan Cadogan,
Gang of Four,
Lungfish,
The Wake,
Godley & Creme,
Pussy Galore,
B.T. Express,
Angels of Light & Akron/Family,
The Cure,
Babytalk,
Art Ensemble Of Chicago,
Bootsy's Rubber Band,
Zapp,
The Happenings,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.