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 Kyrgyzstan and from Spokane.
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 1974.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Rahsaan Roland Kirk to the punk 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 Half Japanese. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Hardrive 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Alison Limerick,
the Soft Cell,
Vaughan Mason & Crew,
Ralphi Rosario,
The Cowsills,
The American Breed,
Spoonie Gee,
Kango’s Stein Massive,
Gichy Dan,
The Sonics,
Dead Boys,
Fela Kuti,
Grey Daturas,
Soft Machine,
The Monochrome Set,
Barclay James Harvest,
The Peanut Butter Conspiracy,
Fatback Band,
Ornette Coleman,
MC5,
Absolute Body Control,
Swans,
Todd Rundgren,
Public Image Ltd.,
Graham Central Station,
Marmalade,
Pet Shop Boys,
Country Joe & The Fish,
Yusef Lateef,
Ronnie Foster,
Jacques Brel,
Kool Moe Dee,
T. Rex,
Eve St. Jones,
Red Lorry Yellow Lorry,
Clear Light,
Maleditus Sound,
Q and Not U,
Qualms,
Minutemen,
New York Dolls,
Brand Nubian,
Depeche Mode,
Camron Feat. Jay Z And Juelz,
The Star Department,
Dawn Penn,
Vainqueur,
John Holt,
DNA,
Eurythmics,
The Martian,
Dual Sessions,
Drexciya,
The Count Five,
The Associates,
The Techniques,
Orchestral Manoeuvres in the Dark,
Hardrive,
cv313,
Dark Day,
DJ Style,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.