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 Kuwait and from Tokyo.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Beijing.
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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 the Swans to the dance kids.
I played it at the Hacienda.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Fifty Foot Hose,
Echospace,
Thompson Twins,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Cluster,
The Alarm Clocks,
Malaria!,
Make Up,
Maurizio,
The Names,
Rufus Thomas,
Nas,
Easy Going,
The Walker Brothers,
Josef K,
Judy Mowatt,
The Birthday Party,
Derrick Morgan,
The Doors,
Skriet,
Bush Tetras,
The Shadows of Knight,
It's A Beautiful Day,
Warsaw,
Bootsy's Rubber Band,
Barbara Tucker,
Model 500,
Kenny Larkin,
Motorama,
Tropical Tobacco,
Gary Puckett & The Union Gap,
Rites of Spring,
Underground Resistance,
Soul II Soul,
Red Lorry Yellow Lorry,
Marc Romboy vs. Booka Shade,
Essential Logic,
Public Image Ltd.,
Monolake,
The Mummies,
Severed Heads,
New Order,
Arthur Verocai,
Black Sheep,
Cecil Taylor,
Wasted Youth,
Eden Ahbez,
Suburban Knight,
Darondo,
Trumans Water,
Bobby Byrd,
Livin' Joy,
Camouflage,
MC5,
Gregory Isaacs,
Ken Boothe,
Jerry's Kids,
The United States of America, The United States of America, The United States of America, The United States of America.
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.