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 Estonia and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Portland 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 snare 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 Liaisons Dangereuses 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 The Dave Clark Five. All the underground hits.
All the Slits 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 rock 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Mad Mike,
Bobby Sherman,
Stetsasonic,
Bang on a Can All-Stars,
The Monochrome Set,
The Searchers,
The Index,
Eric B and Rakim,
Ultravox,
Thee Headcoats,
Radiopuhelimet,
Fort Wilson Riot,
DeepChord presents Echospace,
Tim Buckley,
Minny Pops,
Kool Moe Dee,
The Men They Couldn't Hang,
Public Enemy,
Agent Orange,
Intrusion,
Nils Olav,
Peter & Gordon,
The Royal Family And The Poor,
Bad Manners,
Loose Ends,
David Axelrod,
Toni Rubio,
Iggy Pop,
Tropical Tobacco,
Maurizio,
Matthew Halsall,
DJ Style,
Pharaoh Sanders and the Fire Engines,
Dawn Penn,
Lou Reed & Metallica,
Michelle Simonal,
The Fire Engines,
London Community Gospel Choir,
Inner City,
Eddi Front,
Charles Mingus,
The Wake,
The Real Kids,
the Fania All-Stars,
Technova,
Sound Behaviour,
Marc Romboy vs. Booka Shade,
E-Dancer,
Icehouse,
Erykah Badu,
Bang On A Can,
The Detroit Cobras,
Eve St. Jones,
Kool G Rap & DJ Polo,
Amon Düül II,
PIL,
Althea and Donna,
Ohio Players,
Can,
Bootsy's Rubber Band,
Dr. Dre and Snoop Doggy Dog,
Curtis Mayfield,
Cybotron, Cybotron, Cybotron, Cybotron.
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.