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 Oman and from Beijing.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Eden Ahbez to the electroclash 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 MDC. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
E-Dancer,
Dark Day,
Fatback Band,
Sun City Girls,
James White and The Blacks,
Mr. Review,
Jesper Dahlback,
Quando Quango,
Strawberry Alarm Clock,
Bootsy's Rubber Band,
Andrew Hill,
Yellowson,
Tres Demented,
Black Moon,
Throbbing Gristle,
La Düsseldorf,
PIL,
Organ,
Sällskapet,
Connie Case,
Sandy B,
Alton Ellis,
10cc,
Boredoms,
Loose Ends,
Adolescents,
The Wake,
Angels of Light & Akron/Family,
Negative Approach,
Lou Reed,
Surgeon,
Vainqueur,
Matthew Halsall,
Sun Ra,
Brick,
Bad Manners,
Peter & Gordon,
Skriet,
Nils Olav,
Lou Reed & John Cale,
Public Image Ltd.,
Pole,
The Names,
Big Daddy Kane,
John Lydon,
L. Decosne,
The Leaves,
Robert Görl,
Byron Stingily,
Robert Wyatt,
Notorious BIG live in Amsterdam,
B.T. Express,
the Association,
Livin' Joy,
Harry Pussy,
Arthur Verocai,
Bootsy Collins,
Teenage Jesus and the Jerks,
MC5, MC5, MC5, MC5.
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.