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 Ukraine and from Mexico City.
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 Portland and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 The Zeros to the funk kids.
I played it at Cafe Wha.
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 Brothers Johnson. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Max Romeo,
Section 25,
Marc Romboy vs. Booka Shade,
Black Flag,
Gil Scott-Heron and Jamie xx,
Buzzcocks,
Bang on a Can All-Stars,
Jeru the Damaja,
Eve St. Jones,
Marc Almond,
Lalo Schifrin,
Tom Boy,
The Dirtbombs,
Metal Thangz,
Bootsy Collins,
The Five Americans,
The Residents,
Ronnie Foster,
Sixth Finger,
The Cramps,
The Royal Family And The Poor,
The Grass Roots,
Rhythm & Sound,
Excepter,
Essential Logic,
Glenn Branca,
Sound Behaviour,
Oppenheimer Analysis,
Fela Kuti,
Liaisons Dangereuses,
Nick Cave & The Bad Seeds,
Roy Ayers,
Jesper Dahlback,
Crash Course in Science,
Louis and Bebe Barron,
June Days,
the Human League,
The Evens,
Radiopuhelimet,
Boredoms,
Notorious BIG live in Amsterdam,
Kool G Rap & DJ Polo,
David Axelrod,
Gil Scott Heron,
Adolescents,
cv313,
The Monochrome Set,
Bobbi Humphrey,
Throbbing Gristle,
Los Fastidios,
Q and Not U,
Gerry Rafferty,
Gian Franco Pienzio,
Rowland S Howard / Lydia Lunch,
Hoover,
Marcia Griffiths,
David Bowie,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Outsiders,
the Germs,
Magazine, Magazine, Magazine, Magazine.
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.