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 Comoros and from Seoul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Spokane 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 organ sounds with much patience.
I was there when David Bowie 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 Barbara Tucker to the crunk kids.
I played it at the 40 Watt.
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 Henry Cow. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
The Sound,
Funky Four + One,
Ludus,
Juan Atkins,
Sparks,
Ash Ra Tempel,
The Evens,
Dorothy Ashby,
Laurel Aitken,
Avey Tare & Kría Brekkan,
Altered Images,
Marvin Gaye,
Goldenarms,
Siouxsie and the Banshees,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Motorama,
The Barracudas,
Procol Harum,
New Order,
This Heat,
Suicide,
Glenn Branca,
Joyce Sims,
Bobby Hutcherson,
The Shadows of Knight,
Ken Boothe,
Mary Jane Girls,
Bobbi Humphrey,
Ohio Players,
Sad Lovers and Giants,
Slave,
Liaisons Dangereuses,
Scrapy,
Radiohead,
Delta 5,
The Star Department,
The Neon Judgement,
Kevin Saunderson,
Marine Girls,
The Jesus and Mary Chain,
Danielle Patucci,
Max Romeo,
Warren Ellis,
Shoche,
Richard Hell and the Voidoids,
Davy DMX,
Cal Tjader,
Minny Pops,
The Cosmic Jokers,
Gang Gang Dance,
Lou Reed & John Cale,
Main Source,
Curtis Mayfield,
Sällskapet,
Cymande,
The Techniques,
X-Ray Spex,
Funkadelic,
Fifty Foot Hose,
the Human League,
Zero Boys,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.