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 Bangladesh and from Houston.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Warsaw to the crunk 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 Roger Hodgson. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Super Lover Cee & Casanova Rud,
Khruangbin,
The Remains,
Alice Coltrane,
Ultravox,
Flamin' Groovies,
Heavy D & The Boyz,
Masters at Work,
Bang on a Can All-Stars,
Flipper,
Eurythmics,
The Gap Band,
Vladislav Delay,
The Trojans,
Newcleus,
Kas Product,
Sun City Girls,
Hashim,
Dark Day,
Lalo Schifrin,
Scratch Acid,
Big Daddy Kane,
Brass Construction,
Harpers Bizarre,
Lindisfarne,
The New Christs,
Marc Romboy vs. Booka Shade,
The Walker Brothers,
Curtis Mayfield,
David Bowie,
Warren Ellis,
China Crisis,
Depeche Mode,
Sunsets and Hearts,
Byron Stingily,
Tears for Fears,
Oppenheimer Analysis,
Beasts of Bourbon,
Kango’s Stein Massive,
The Happenings,
Danielle Patucci,
Sällskapet,
Country Joe & The Fish,
Subhumans,
Chris & Cosey,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Lydon,
Connie Case,
Don Cherry,
One Last Wish,
Peter Gordon & Love of Life Orchestra,
MDC,
The Sound,
Magazine,
The Selecter,
Rod Modell,
Liliput,
Marc Almond,
Deadbeat,
Pere Ubu,
The Royal Family And The Poor,
Basic Channel,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.