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 Guatemala and from Spokane.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Gregory Isaacs to the punk 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 Mr. Review. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Rosa Yemen,
Kool G Rap & DJ Polo,
Ralphi Rosario,
The Monochrome Set,
Byron Stingily,
June of 44,
Derrick Morgan,
D'Angelo,
Joy Division,
Robert Wyatt,
Trumans Water,
The Fuzztones,
Pet Shop Boys,
Robert Görl,
Deutsch Amerikanische Freundschaft,
R.M.O.,
Ultra Naté,
Johnny Clarke,
Sun City Girls,
Idris Muhammad,
Goldenarms,
Sixth Finger,
Agent Orange,
The Index,
Angels of Light & Akron/Family,
Black Pus,
Section 25,
Basic Channel,
The Birthday Party,
Black Sheep,
Kango’s Stein Massive,
Dual Sessions,
World's Most,
Todd Terry,
Second Layer,
The Barracudas,
kango's stein massive,
The Sound,
Bush Tetras,
Man Parrish,
FM Einheit,
Subhumans,
Kayak,
Sad Lovers and Giants,
The Move,
The Durutti Column,
Con Funk Shun,
Pere Ubu,
Andrew Ashong & Theo Parrish,
The Zeros,
Ossler,
The Flesh Eaters,
Chris & Cosey,
Public Image Ltd.,
Thee Headcoats,
Aaron Thompson,
Boredoms,
The Dave Clark Five,
the Sonics,
The Gladiators,
Frankie Knuckles,
Das Ding,
Adolescents, Adolescents, Adolescents, Adolescents.
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.