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 Spain and from Bologna.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lagos and Calgary.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 MDC to the punk 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 The Evens. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your 808 and bought an organ.
I hear that you and your band have sold your organ and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Men They Couldn't Hang,
The Happenings,
Faust,
Parry Music,
Erykah Badu,
Ludus,
Bootsy Collins,
Bill Near,
The West Coast Pop Art Experimental Band,
Grandmaster Flash and the Furious Five,
Q and Not U,
Bronski Beat,
Basic Channel,
The United States of America,
The Blues Magoos,
Heavy D & The Boyz,
Excepter,
Maleditus Sound,
The Moleskins,
This Heat,
Warsaw,
Ajijia Myrayebe,
Brass Construction,
Mad Mike,
Arthur Verocai,
Ten City,
Kas Product,
The Saints,
Gil Scott Heron,
Pere Ubu,
Deakin,
Babytalk,
Johnny Clarke,
Alison Limerick,
DNA,
Bauhaus,
The Martian,
Average White Band,
Slave,
Unrelated Segments,
The Remains,
In Retrospect,
Shoche,
Stockholm Monsters,
Fort Wilson Riot,
Sam Rivers,
Bad Manners,
Arab on Radar,
R.M.O.,
CMW,
Frankie Knuckles,
Stiv Bators,
The Grass Roots,
Be Bop Deluxe,
Eric Dolphy,
Richard Hell and the Voidoids,
Joy Division,
Animal Collective,
Gastr Del Sol,
Altered Images,
Popol Vuh,
Main Source, Main Source, Main Source, Main Source.
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.