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 Sudan and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Edmonton and Woodstock.
I'm losing my edge to the art-school Beijing 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the sitar 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 Minor Threat to the dance 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 Country Teasers. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Faraquet,
Das Ding,
Kool G Rap & DJ Polo,
Jacques Brel,
Heaven 17,
Judy Mowatt,
Nation of Ulysses,
John Holt,
Eden Ahbez,
Beasts of Bourbon,
MDC,
Black Sheep,
Lafayette Afro Rock Band,
T. Rex,
Technova,
Charles Mingus,
Brothers Johnson,
Wire,
Pulsallama,
Electric Light Orchestra,
Pagans,
Eddi Front,
The Skatalites,
Section 25,
Max Romeo,
Bootsy's Rubber Band,
The United States of America,
Lou Reed & Metallica,
Vladislav Delay,
Bobby Byrd,
Soft Machine,
the Swans,
Jesper Dahlback,
Chris & Cosey,
The Vogues,
The Associates,
Urselle,
Delon & Dalcan,
Newcleus,
Average White Band,
Marvin Gaye,
Chrome,
Visage,
Warsaw,
Aural Exciters,
Boogie Down Productions,
The Walker Brothers,
Fatback Band,
Thee Headcoats,
Outsiders,
The Raincoats,
Stockholm Monsters,
a-ha,
Joyce Sims,
Bluetip,
The Residents,
Neil Young,
The Selecter,
Ten City,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.