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 Kazakhstan and from Bremen.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Traffic Nightmare to the disco kids.
I played it at CBGB's.
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 Star Department. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
U.S. Maple,
Connie Case,
Electric Prunes,
Mark Hollis,
Art Ensemble Of Chicago,
Roy Ayers Ubiquity,
Orchestral Manoeuvres in the Dark,
JFA,
Fort Wilson Riot,
Sam Rivers,
The Real Kids,
The Dead C,
The Star Department,
The Vogues,
Lakeside,
Public Enemy,
Robert Görl,
Deutsch Amerikanische Freundschaft,
Lower 48,
DJ Style,
The Kinks,
A Flock of Seagulls,
Lou Reed,
Gregory Isaacs,
Ultravox,
Nick Fraelich,
Lou Reed & Metallica,
Massinfluence,
Angels of Light & Akron/Family,
The Evens,
Delta 5,
The Birthday Party,
Faust,
Spoonie Gee,
Soul II Soul,
Monks,
Deadbeat,
The Sound,
The Saints,
Stiv Bators,
Gary Puckett & The Union Gap,
Josef K,
Danielle Patucci,
Captain Beefheart & His Magic Band,
Sex Pistols,
Warren Ellis,
Cecil Taylor,
Marshall Jefferson,
Quadrant,
Siouxsie and the Banshees,
Lalo Schifrin,
Peter & Gordon,
A Certain Ratio,
The Names,
Y Pants,
Underground Resistance,
Marine Girls,
Slick Rick,
Junior Murvin,
Eli Mardock,
In Retrospect,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.