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 Macedonia and from Winnipeg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Fire Engines to the techno kids.
I played it at the Spitz.
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 Rod Modell. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Connie Case 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The United States of America,
David McCallum,
A Flock of Seagulls,
New Order,
The Misunderstood,
The New Christs,
Crime,
Jacques Brel,
Blake Baxter,
L. Decosne,
Qualms,
Tubeway Army,
Mark Hollis,
Eurythmics,
ABBA,
Ossler,
Brick,
Swell Maps,
Joyce Sims,
Sugar Minott,
Max Romeo,
Peter & Gordon,
Shoche,
Deepchord,
The Cowsills,
Oppenheimer Analysis,
The Slits,
The Martian,
The Black Dice,
Symarip,
Lebanon Hanover,
Von Mondo,
Kango’s Stein Massive,
X-101,
The Gladiators,
Alton Ellis,
Al Stewart,
The Electric Prunes,
Glenn Branca,
Thinking Fellers Union Local 282,
Radio Birdman,
FM Einheit,
Teenage Jesus and the Jerks,
Funkadelic,
Roxy Music,
The Cosmic Jokers,
Rowland S Howard / Lydia Lunch,
The J.B.'s,
Kaleidoscope,
Nirvana,
Pantaleimon,
Freddie Wadling,
Barclay James Harvest,
China Crisis,
X-Ray Spex,
The Wake,
Aloha Tigers,
Blossom Toes,
the Bar-Kays,
Groovy Waters,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.