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 Portugal and from Salvador.
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 1974.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Josef K to the funk kids.
I played it at the Troubador.
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 Simply Red. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every AZ 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 '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Mars,
The Doobie Brothers,
Curtis Mayfield,
Spoonie Gee,
Patti Smith,
Avey Tare & Kría Brekkan,
Peter Gordon & Love of Life Orchestra,
Avey Tare's Slasher Flicks,
Ponytail,
Crispy Ambulance,
Eric Copeland,
Juan Atkins,
The Barracudas,
Motorama,
The Count Five,
Throbbing Gristle,
The Slackers,
The Royal Family And The Poor,
Brass Construction,
Gichy Dan,
The Knickerbockers,
Joensuu 1685,
Rod Modell,
Arab on Radar,
the Human League,
Cybotron,
The New Christs,
Zero Boys,
Thompson Twins,
Orchestral Manoeuvres in the Dark,
The Busters,
Inner City,
Archie Shepp,
Spandau Ballet,
The Toasters,
Liaisons Dangereuses,
The Detroit Cobras,
Henry Cow,
Fluxion,
Gang Gang Dance,
Scratch Acid,
John Foxx,
New York Dolls,
Parry Music,
T. Rex,
The Five Americans,
Masters at Work,
Flash Fearless,
the Germs,
Big Daddy Kane,
Blossom Toes,
Aloha Tigers,
the Normal,
Andrew Ashong & Theo Parrish,
Duran Duran,
Dead Boys,
Rowland S Howard / Lydia Lunch,
The Beau Brummels,
Nils Olav,
Man Parrish,
cv313, cv313, cv313, cv313.
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.