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 Haiti and from Madrid.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Barry Ungar to the crunk kids.
I played it at the Astoria.
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 Blossom Toes. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Yaz,
The Royal Family And The Poor,
MDC,
Marvin Gaye,
Barbara Tucker,
Mark Hollis,
Y Pants,
Avey Tare's Slasher Flicks,
The Wake,
Tropical Tobacco,
The Slits,
Blossom Toes,
Boredoms,
Lebanon Hanover,
Ultimate Spinach,
Depeche Mode,
Sly & The Family Stone,
Angry Samoans,
Barrington Levy,
Siglo XX,
Patti Smith,
The Sound,
The Toasters,
The Grass Roots,
The United States of America,
Johnny Clarke,
Make Up,
Bill Wells,
Mission of Burma,
Aural Exciters,
Blancmange,
The Angels of Light,
Prince Buster,
Nation of Ulysses,
The Litter,
Interpol,
Loose Ends,
Can,
Masters at Work,
Main Source,
Heavy D & The Boyz,
DNA,
Niagra,
Bill Near,
Max Romeo,
the Bar-Kays,
Ludus,
Skarface,
Aloha Tigers,
The Slackers,
Negative Approach,
The Happenings,
kango's stein massive,
Magazine,
Arab on Radar,
Siouxsie and the Banshees,
The Modern Lovers,
Andrew Hill,
Technova,
Scientists,
John Holt, John Holt, John Holt, John Holt.
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.