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 Kosovo and from Bremen.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 A Flock of Seagulls to the techno kids.
I played it at the Troubador.
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 D'Angelo. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Hashim,
Liliput,
Barbara Tucker,
The Gories,
Sun Ra,
Goldenarms,
Robert Görl,
Rotary Connection,
The Smoke,
Negative Approach,
Scott Walker,
DNA,
Mad Mike,
Tim Buckley,
Minutemen,
Harpers Bizarre,
Cal Tjader,
The Men They Couldn't Hang,
China Crisis,
The Victims,
Brick,
Los Fastidios,
K-Klass,
Tommy Roe,
Stiv Bators,
Eyeless In Gaza,
Donald Byrd,
The Martian,
Marshall Jefferson,
Prince Buster,
Sunsets and Hearts,
The Skatalites,
Eric Copeland,
Kool Moe Dee,
Orchestral Manoeuvres in the Dark,
Zapp,
Silicon Teens,
Notorious Big And Bone Thugs,
Terrestrial Tones,
World's Most,
The West Coast Pop Art Experimental Band,
Hasil Adkins,
Livin' Joy,
Bootsy's Rubber Band,
Sister Nancy,
Drive Like Jehu,
Boredoms,
MDC,
Masters at Work,
Soulsonic Force,
Jeru the Damaja,
Oneida,
Zero Boys,
Khruangbin,
Todd Terry,
Flipper,
Quadrant,
Joe Finger,
Ajijia Myrayebe,
CMW, CMW, CMW, CMW.
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.