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 Algeria and from Toronto.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Fear to the punk 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 Nils Olav. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Bob Dylan,
Junior Murvin,
Eric Copeland,
Lou Christie,
Accadde A,
Crispian St. Peters,
Mr. Review,
MDC,
New Order,
The Moody Blues,
Pete Rock & C.L. Smooth,
Laurel Aitken,
Beasts of Bourbon,
Hashim,
Radio Birdman,
John Cale,
Circle Jerks,
Barbara Tucker,
Slave,
Siglo XX,
Maurizio,
The Invisible,
Technova,
Johnny Clarke,
Barry Ungar,
Minor Threat,
Kings Of Tomorrow,
Danielle Patucci,
Livin' Joy,
Intrusion,
FM Einheit,
Yaz,
R.M.O.,
T.S.O.L.,
David Bowie,
It's A Beautiful Day,
Rites of Spring,
Larry & the Blue Notes,
Glambeats Corp.,
Henry Cow,
Gastr Del Sol,
U.S. Maple,
Sarah Menescal,
Alison Limerick,
Grandmaster Flash,
Can,
Brothers Johnson,
Neu!,
The Moleskins,
Vladislav Delay,
Aswad,
Jacob Miller,
Sandy B,
Sexual Harrassment,
PIL,
Gichy Dan,
Cabaret Voltaire,
The Royal Family And The Poor,
the Germs,
Cymande, Cymande, Cymande, Cymande.
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.