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 Egypt and from Tehran.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Fluxion to the disco kids.
I played it at the Spitz.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Grandmaster Flash,
Byron Stingily,
Marc Romboy vs. Booka Shade,
Stiv Bators,
Glenn Branca,
Babytalk,
Slave,
Erasure,
L. Decosne,
AZ,
The Young Rascals,
Jerry Gold Smith,
Barry Ungar,
Severed Heads,
The Selecter,
Oppenheimer Analysis,
The Detroit Cobras,
Urselle,
Don Cherry,
Brand Nubian,
Warren Ellis,
Pylon,
Fatback Band,
Flipper,
Lower 48,
the Germs,
Malaria!,
Roger Hodgson,
Kauko Röyhkä ja Narttu,
The Seeds,
Terry Callier,
Erykah Badu,
Q and Not U,
The Toasters,
Dark Day,
Scrapy,
MDC,
The Busters,
Jerry's Kids,
Darondo,
Alton Ellis,
Wasted Youth,
Sun Ra Arkestra,
Gil Scott-Heron & Brian Jackson,
Vaughan Mason & Crew,
Delta 5,
Peter and Kerry,
Y Pants,
Ken Boothe,
The Cramps,
Mark Hollis,
The Stooges,
Ronnie Foster,
Orchestral Manoeuvres in the Dark,
Kenny Larkin,
The Birthday Party,
Television,
Gabor Szabo,
Glambeats Corp.,
Scratch Acid,
Livin' Joy,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.