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 Brunei and from Manchester.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Agitation Free to the punk 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 Bootsy's Rubber Band. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Siglo XX,
Ohio Players,
Röyhkä ja Rättö ja Lehtisalo,
Lizzy Mercier Descloux,
Unwound,
James White and The Blacks,
The Velvet Underground,
Jacob Miller,
Harmonia,
Mantronix,
In Retrospect,
The Birthday Party,
Michelle Simonal,
Sex Pistols,
Lou Reed & John Cale,
Ludus,
Thompson Twins,
Kevin Saunderson,
Zapp,
New Age Steppers,
Cymande,
the Normal,
Heaven 17,
Marvin Gaye,
Mad Mike,
Sister Nancy,
The Dead C,
These Immortal Souls,
The Star Department,
The Victims,
Rhythm & Sound,
Neil Young,
Pulsallama,
KRS-One,
Ultravox,
Lou Reed & Metallica,
Alice Coltrane,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Severed Heads,
Eddi Front,
Youth Brigade,
Angels of Light & Akron/Family,
Junior Murvin,
Be Bop Deluxe,
Lightning Bolt,
B.T. Express,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Barrington Levy,
Desert Stars,
The Shadows of Knight,
Roxy Music,
Dennis Brown,
Rekid,
Bill Near,
CMW,
The Doors,
Country Teasers,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Joensuu 1685,
The Raincoats,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.