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 Luxembourg and from Stockholm.
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 Spokane and Houston.
I'm losing my edge to the art-school Spokane 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 Wings to the electroclash kids.
I played it at the 40 Watt.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
Audionom,
Boogie Down Productions,
Ash Ra Tempel,
The Monks,
Bad Manners,
Throbbing Gristle,
Cluster,
Severed Heads,
The Cramps,
Nils Olav,
Crime,
Yusef Lateef,
The Sisters of Mercy,
DJ Style,
Sarah Menescal,
Electric Prunes,
The Black Dice,
Nation of Ulysses,
Deadbeat,
Oppenheimer Analysis,
Nick Fraelich,
Eyeless In Gaza,
The United States of America,
Pete Rock & C.L. Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Neil Young & Crazy Horse,
The American Breed,
Art Ensemble Of Chicago,
Andrew Hill,
The Five Americans,
Infiniti,
Kool G Rap & DJ Polo,
New York Dolls,
Janne Schatter,
The Fuzztones,
Bluetip,
The Pretty Things,
Darondo,
The New Christs,
Beasts of Bourbon,
The Shadows of Knight,
Don Cherry,
Khruangbin,
Clear Light,
Gabor Szabo,
Skaos,
Ronnie Foster,
Donald Byrd,
Vaughan Mason & Crew,
Public Enemy,
Brick,
Q65,
Brand Nubian,
Stereo Dub,
Eric Dolphy,
The Music Machine,
Gastr Del Sol,
Lalo Schifrin,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.