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 Netherlands and from Beijing.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 disco kids.
I played it at the Roxy.
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 B.T. Express. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every The Smiths 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Girls At Our Best!,
Unwound,
Jeff Mills,
The Names,
Camberwell Now,
Wighnomy Brothers & Robag Wruhme,
Rosa Yemen,
Junior Murvin,
The Invisible,
Icehouse,
MC5,
The Red Krayola,
Crime,
Rhythim Is Rhythim,
Monolake,
Boogie Down Productions,
Blake Baxter,
F. McDonald,
Gastr Del Sol,
Michelle Simonal,
Urselle,
Nirvana,
Average White Band,
The Fall,
Das Ding,
Aural Exciters,
Roxy Music,
Swans,
Amon Düül,
Cameo,
ABBA,
London Community Gospel Choir,
Judy Mowatt,
The Count Five,
Pierre Henry,
Larry & the Blue Notes,
Warsaw,
Dennis Brown,
Magazine,
Young Marble Giants,
Lucky Dragons,
Moby Grape,
Radio Birdman,
Justin Hinds & The Dominoes,
Andrew Ashong & Theo Parrish,
Groovy Waters,
Lou Reed & John Cale,
Sister Nancy,
Kurtis Blow,
Gian Franco Pienzio,
Kenny Larkin,
The Cure,
Ultimate Spinach,
R.M.O.,
Pole,
The Divine Comedy,
Alton Ellis,
Altered Images,
The Monks,
Wasted Youth,
Loose Ends,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.