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 Mauritania and from Manchester.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 David Axelrod to the disco kids.
I played it at the Astoria.
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 Kerrie Biddell. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Vaughan Mason & Crew,
Rod Modell,
Soul Sonic Force,
Moebius,
Juan Atkins,
Bill Wells,
Popol Vuh,
Moby Grape,
The Fall,
The Buckinghams,
A Flock of Seagulls,
Gil Scott-Heron & Brian Jackson,
Prince Buster,
Niagra,
Robert Görl,
Andrew Ashong & Theo Parrish,
Thinking Fellers Union Local 282,
Hashim,
David Bowie,
Kerrie Biddell,
Lungfish,
The Velvet Underground,
Davy DMX,
Aaron Thompson,
Franke,
The Pretty Things,
Deepchord,
Oppenheimer Analysis,
Bush Tetras,
Blancmange,
Sex Pistols,
Crispy Ambulance,
Radiohead,
Sad Lovers and Giants,
Babytalk,
Scratch Acid,
The Zeros,
Harmonia,
DNA,
Maleditus Sound,
Gabor Szabo,
Aural Exciters,
Pet Shop Boys,
Lonnie Liston Smith,
Young Marble Giants,
Public Enemy,
Bauhaus,
Eurythmics,
Interpol,
Darondo,
Joensuu 1685,
Art Ensemble Of Chicago,
Selector Dub Narcotic,
Kas Product,
Teenage Jesus and the Jerks,
Youth Brigade,
Radio Birdman,
Joey Negro,
UT,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.