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 Vietnam and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Spokane 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the sitar 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 Hasil Adkins to the funk kids.
I played it at the Crocodile.
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 Eric Copeland. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Robert Hood,
Grauzone,
Lee Hazlewood,
Visage,
Suburban Knight,
Yazoo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stetsasonic,
Silicon Teens,
Cheater Slicks,
Lyres,
The Buckinghams,
Liliput,
Jimmy McGriff,
The Motions,
Jesper Dahlback,
H. Thieme,
Model 500,
Metal Thangz,
The Last Poets,
The Real Kids,
The Wake,
The United States of America,
UT,
Roy Ayers Ubiquity,
The Selecter,
Bobby Byrd,
The Divine Comedy,
Junior Murvin,
Mars,
Thinking Fellers Union Local 282,
Television,
Dead Boys,
Brothers Johnson,
The Detroit Cobras,
Letta Mbulu,
The Shadows of Knight,
Orchestral Manoeuvres in the Dark,
Arthur Verocai,
Isaac Hayes,
Graham Central Station,
Strawberry Alarm Clock,
Sad Lovers and Giants,
a-ha,
Byron Stingily,
Grandmaster Flash and the Furious Five,
Ronnie Foster,
The Associates,
Glambeats Corp.,
Arab on Radar,
The Happenings,
Cecil Taylor,
DNA,
The Cure,
Maleditus Sound,
Dawn Penn,
Eyeless In Gaza,
The Jesus and Mary Chain,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.