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 Burkina and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Halifax 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Goldenarms to the grunge 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 The Doors. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Moebius,
Stiv Bators,
Ornette Coleman,
Ash Ra Tempel,
Fatback Band,
Brick,
Stockholm Monsters,
Frankie Knuckles,
Blancmange,
Public Image Ltd.,
Camouflage,
Soft Machine,
Severed Heads,
JFA,
Grauzone,
Red Lorry Yellow Lorry,
The Remains,
Sparks,
Lyres,
Swans,
Bootsy Collins,
Accadde A,
Eden Ahbez,
D'Angelo,
Roxette,
Selector Dub Narcotic,
New Age Steppers,
Kerrie Biddell,
Bobby Byrd,
Al Stewart,
Spandau Ballet,
Scratch Acid,
The Dirtbombs,
Country Teasers,
Roy Ayers,
The Vogues,
Danielle Patucci,
Dorothy Ashby,
the Bar-Kays,
Sight & Sound,
The Fire Engines,
Godley & Creme,
Scion,
Kenny Larkin,
James Chance & The Contortions,
Deakin,
E-Dancer,
Funkadelic,
Cal Tjader,
N.O.R.E. Featuring Pharrell,
Fort Wilson Riot,
The Mojo Men,
Wighnomy Brothers & Robag Wruhme,
Groovy Waters,
Black Sheep,
Iggy Pop,
Ultravox,
Jesper Dahlback,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.