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 Venezuela and from New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Pet Shop Boys to the techno 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 Morten Harket. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Moss Icon,
Flipper,
Sonic Youth,
Harry Pussy,
Blake Baxter,
Arthur Verocai,
Absolute Body Control,
Big Daddy Kane,
The Buckinghams,
Rosa Yemen,
The Flesh Eaters,
The Dead C,
Ronnie Foster,
Angry Samoans,
Oneida,
The Men They Couldn't Hang,
Masters at Work,
Mission of Burma,
Yaz,
The Sound,
Little Man,
Vaughan Mason & Crew,
Robert Hood,
Marmalade,
Pagans,
Radio Birdman,
The Cramps,
B.T. Express,
Rapeman,
Red Lorry Yellow Lorry,
It's A Beautiful Day,
Can,
Arab on Radar,
Monolake,
Robert Görl,
Byron Stingily,
Prince Buster,
the Soft Cell,
Skaos,
Talk Talk,
Louis and Bebe Barron,
Pharaoh Sanders and the Fire Engines,
Jeff Mills,
Tom Boy,
Mr. Review,
Accadde A,
Pantytec,
Sad Lovers and Giants,
Gang Green,
Gary Puckett & The Union Gap,
Cameo,
MDC,
The Gories,
Altered Images,
The Cowsills,
Grauzone,
Section 25,
Slave,
Supertramp,
Cheater Slicks,
Mark Hollis,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.