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 South Sudan and from Toronto.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Marc Romboy vs. Booka Shade to the electroclash 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 Neil Young & Crazy Horse. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec 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?
Godley & Creme,
The Last Poets,
Little Man,
Brothers Johnson,
Gil Scott-Heron & Brian Jackson,
Bootsy's Rubber Band,
Wally Richardson,
The Men They Couldn't Hang,
Black Pus,
Sexual Harrassment,
Minny Pops,
The Stooges,
Zapp,
Max Romeo,
Marcia Griffiths,
Sixth Finger,
Amon Düül II,
Moss Icon,
Silicon Teens,
Marshall Jefferson,
Ten City,
Intrusion,
OOIOO,
Bad Manners,
The Knickerbockers,
The Walker Brothers,
June Days,
Warsaw,
Bob Dylan,
Radiohead,
Albert Ayler,
Drive Like Jehu,
Radiopuhelimet,
Mary Jane Girls,
Youth Brigade,
Minutemen,
Country Teasers,
Wasted Youth,
Simply Red,
Barrington Levy,
Livin' Joy,
Tommy Roe,
Mandrill,
AZ,
Lindisfarne,
Eurythmics,
Crash Course in Science,
Unrelated Segments,
Liaisons Dangereuses,
Trumans Water,
Wolf Eyes,
Connie Case,
The Monochrome Set,
UT,
Joe Finger,
Notorious BIG live in Amsterdam,
Kurtis Blow,
Robert Wyatt,
The Litter,
John Holt,
Arcadia,
Bobbi Humphrey,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.