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 Paraguay and from Delhi.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 The Buckinghams to the grime 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 The Gap Band. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Guru Guru 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Terror Squad Feat. Camron,
The Star Department,
The Knickerbockers,
Al Stewart,
Interpol,
Notorious BIG live in Amsterdam,
Sugar Minott,
Hardrive,
Scion,
The Mojo Men,
Gichy Dan,
Lucky Dragons,
Urselle,
The Busters,
Red Lorry Yellow Lorry,
Rufus Thomas,
Susan Cadogan,
Super Lover Cee & Casanova Rud,
Roger Hodgson,
Aaron Thompson,
Magazine,
The Pop Group,
The Doobie Brothers,
The Cowsills,
X-102,
Alton Ellis,
Arthur Verocai,
Wasted Youth,
Scan 7,
Schoolly D,
Radiohead,
Pharaoh Sanders and the Fire Engines,
Eric Dolphy,
Sällskapet,
Soul II Soul,
Quando Quango,
Severed Heads,
Public Image Ltd.,
Underground Resistance,
Mantronix,
Black Flag,
Motorama,
The J.B.'s,
Franke,
DJ Style,
John Lydon,
Pete Rock & C.L. Smooth,
Basic Channel,
Von Mondo,
Neu!,
Babytalk,
X-Ray Spex,
Fad Gadget,
Chrome,
PIL,
Ponytail,
the Association,
Rowland S Howard / Lydia Lunch,
Fear,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.