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 Taiwan 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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Cairo 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb 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 Kool G Rap & DJ Polo to the electroclash 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 Motorama. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Black Pus,
Notorious BIG live in Amsterdam,
Echo & the Bunnymen,
Rakim,
Kool G Rap & DJ Polo,
Howard Jones,
Big Daddy Kane,
Arthur Verocai,
Rahsaan Roland Kirk,
The Music Machine,
Notorious Big And Bone Thugs,
Hashim,
Massinfluence,
The Slits,
Avey Tare & Kría Brekkan,
Bush Tetras,
Camron Feat. Memphis Bleek And Beenie Seigel,
Laurel Aitken,
Yaz,
Minnie Riperton,
Juan Atkins,
Franke,
Depeche Mode,
Pharaoh Sanders and the Fire Engines,
Throbbing Gristle,
Flamin' Groovies,
Selector Dub Narcotic,
Soft Machine,
Soul Sonic Force,
Second Layer,
Tim Buckley,
Swell Maps,
Electric Prunes,
Chris & Cosey,
Radiopuhelimet,
Jerry's Kids,
Sun Ra,
Janne Schatter,
Eddi Front,
Black Moon,
Lou Christie,
The Toasters,
Ponytail,
Siouxsie and the Banshees,
The New Christs,
Royal Trux,
Michelle Simonal,
Organ,
Angels of Light & Akron/Family,
Prince Buster,
Lower 48,
Neil Young & Crazy Horse,
Tom Boy,
Josef K,
Chrome,
the Germs,
Slave,
Henry Cow,
The Gories,
Kurtis Blow,
Robert Wyatt,
Fugazi, Fugazi, Fugazi, Fugazi.
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.