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 Ecuador and from New York.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Oneida to the rap 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 the Normal. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Camouflage 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Rufus Thomas,
CMW,
The New Christs,
Bobby Sherman,
Suburban Knight,
Major Organ And The Adding Machine,
Quadrant,
Laurel Aitken,
Robert Görl,
ABBA,
Blossom Toes,
Pere Ubu,
The Raincoats,
E-Dancer,
Reuben Wilson,
Brass Construction,
Bush Tetras,
Ultra Naté,
Sad Lovers and Giants,
Spoonie Gee,
Yusef Lateef,
The Smoke,
Das Ding,
Anakelly,
The Cramps,
The Moody Blues,
The Last Poets,
Davy DMX,
the Swans,
Roger Hodgson,
Eurythmics,
Banda Bassotti,
the Soft Cell,
Arcadia,
Cameo,
Hasil Adkins,
The Offenders,
Kool G Rap & DJ Polo,
Tubeway Army,
Metal Thangz,
Pylon,
Eden Ahbez,
Lyres,
Nation of Ulysses,
Second Layer,
Moby Grape,
Boz Scaggs,
Funkadelic,
Erasure,
Susan Cadogan,
Parry Music,
Sun City Girls,
Harmonia,
Flamin' Groovies,
John Coltrane,
Black Flag,
Barclay James Harvest,
Circle Jerks,
Jerry's Kids,
Make Up,
Art Ensemble Of Chicago,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.