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 Dominican Republic and from Hong Kong.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Dead Boys to the techno kids.
I played it at the 40 Watt.
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 Yazoo. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Morten Harket 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Nas,
Erykah Badu,
Oppenheimer Analysis,
Electric Light Orchestra,
Fat Boys,
Kas Product,
Davy DMX,
Swell Maps,
Jimmy McGriff,
Orchestral Manoeuvres in the Dark,
Kenny Larkin,
Todd Terry,
The Remains,
Lee Hazlewood,
The Fire Engines,
The Durutti Column,
Idris Muhammad,
Louis and Bebe Barron,
Brand Nubian,
Kool G Rap & DJ Polo,
ABC,
Flash Fearless,
Bobby Byrd,
Public Image Ltd.,
The Monks,
Icehouse,
China Crisis,
Shoche,
Johnny Clarke,
Pagans,
The Moleskins,
Soft Cell,
Minutemen,
Country Joe & The Fish,
David Bowie,
The Detroit Cobras,
Ornette Coleman,
the Slits,
The Zeros,
Boredoms,
The Black Dice,
U.S. Maple,
Saccharine Trust,
Curtis Mayfield,
Scott Walker,
The Knickerbockers,
Mars,
It's A Beautiful Day,
Derrick May,
Lizzy Mercier Descloux,
the Association,
The Slackers,
Eric B and Rakim,
AZ,
Monks,
Gil Scott-Heron and Jamie xx,
The Smoke,
Judy Mowatt,
Frankie Knuckles,
Sam Rivers,
Minor Threat,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.