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 Libya and from Columbus.
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 1964 to 1975.
I'm losing my edge.
To all the kids in London and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Brass Construction to the electroclash 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 Charles Mingus. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Aloha Tigers,
The Pretty Things,
Black Pus,
In Retrospect,
Eden Ahbez,
Los Fastidios,
8 Eyed Spy,
Visage,
Alton Ellis,
Nick Fraelich,
Clear Light,
Kango’s Stein Massive,
The New Christs,
The Move,
The Motions,
The Monochrome Set,
Amon Düül,
The Chocolate Watch Band,
Gang Starr,
Saccharine Trust,
Reuben Wilson,
Fugazi,
Suicide,
The Dave Clark Five,
Vaughan Mason & Crew,
Cymande,
Bush Tetras,
Electric Light Orchestra,
Jesper Dahlback,
Scott Walker,
The Smoke,
Shoche,
Masters at Work,
The Divine Comedy,
Cybotron,
Camouflage,
Basic Channel,
Mission of Burma,
Gastr Del Sol,
The Young Rascals,
Adolescents,
The Flesh Eaters,
the Normal,
Skriet,
Kaleidoscope,
Pete Rock & C.L. Smooth,
The Evens,
Tubeway Army,
Gregory Isaacs,
Bad Manners,
Ronan,
David Bowie,
Cabaret Voltaire,
Eyeless In Gaza,
Surgeon,
K-Klass,
Brothers Johnson,
The Fortunes,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.