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 Cape Verde and from Johannesburg.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Shoche to the techno 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 The Move. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Camouflage,
Lafayette Afro Rock Band,
Marc Almond,
The Moleskins,
Skarface,
The Tremeloes,
Little Man,
The Misunderstood,
10cc,
E-Dancer,
Bootsy Collins,
X-101,
The Fall,
The Gories,
Camberwell Now,
Fear,
Dennis Brown,
Derrick May,
Kurtis Blow,
Orchestral Manoeuvres in the Dark,
Ohio Players,
Judy Mowatt,
Röyhkä ja Rättö ja Lehtisalo,
Kas Product,
Sunsets and Hearts,
Japan,
Minutemen,
Pussy Galore,
Stetsasonic,
Public Enemy,
Von Mondo,
Kerrie Biddell,
Boogie Down Productions,
Steve Hackett,
Saccharine Trust,
Zero Boys,
The Shadows of Knight,
Freddie Wadling,
Tommy Roe,
Fugazi,
Fat Boys,
Robert Görl,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
Nas,
Josef K,
Sarah Menescal,
K-Klass,
Vainqueur,
Jesper Dahlbäck,
James Chance & The Contortions,
Surgeon,
Bootsy's Rubber Band,
Kenny Larkin,
Robert Wyatt,
A Certain Ratio,
The Walker Brothers,
The Toasters,
This Heat,
Angry Samoans,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.