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 Paraguay and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1972.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Tokyo 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Crash Course in Science to the dance kids.
I played it at Trash.
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 Laurel Aitken. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Stockholm Monsters,
Man Parrish,
Reuben Wilson,
Cal Tjader,
Matthew Bourne,
Jerry Gold Smith,
The Gun Club,
Guru Guru,
Amon Düül II,
Siglo XX,
Young Marble Giants,
Rhythim Is Rhythim,
Tears for Fears,
Slick Rick,
Zero Boys,
Barrington Levy,
10cc,
DNA,
Roxette,
Albert Ayler,
Glenn Branca,
Flamin' Groovies,
The Busters,
Oblivians,
Big Daddy Kane,
Kenny Larkin,
Erasure,
Depeche Mode,
Visionaries,LMNO, T- Love & Iriscience,
The Sisters of Mercy,
MDC,
The Monochrome Set,
Pete Rock & C.L. Smooth,
Rhythm & Sound,
Tubeway Army,
The Fire Engines,
Red Lorry Yellow Lorry,
Laurel Aitken,
Patti Smith,
Dennis Brown,
Traffic Nightmare,
Supertramp,
The Standells,
Audionom,
Aaron Thompson,
Hasil Adkins,
Jimmy McGriff,
David Bowie,
Thinking Fellers Union Local 282,
Gil Scott-Heron and Jamie xx,
The Fuzztones,
The Music Machine,
James White and The Blacks,
Mars,
The Trojans,
The Shadows of Knight,
the Human League,
Pagans,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.