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 Yemen and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school New York 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 theremin sounds with much patience.
I was there when David Bowie 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 The American Breed to the jazz kids.
I played it at the 40 Watt.
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 kango's stein massive. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Henry Cow 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Adolescents,
Radio Birdman,
the Sonics,
Darondo,
LL Cool J,
Intrusion,
The Busters,
The Alarm Clocks,
The Monochrome Set,
Main Source,
Barry Ungar,
Fort Wilson Riot,
A Certain Ratio,
Stockholm Monsters,
Donald Byrd,
Grauzone,
The Monks,
The American Breed,
Cheater Slicks,
Khruangbin,
The Mummies,
Boredoms,
Liaisons Dangereuses,
The New Christs,
Jesper Dahlback,
PIL,
Chris & Cosey,
Lucky Dragons,
Kerrie Biddell,
Notorious BIG live in Amsterdam,
New York Dolls,
Michelle Simonal,
Jeff Mills,
Neil Young & Crazy Horse,
Fela Kuti,
Altered Images,
Marcia Griffiths,
Infiniti,
Kenny Larkin,
Laurel Aitken,
Animal Collective,
Desert Stars,
Black Moon,
Zapp,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
X-101,
Anthony Braxton,
Country Joe & The Fish,
Quadrant,
Robert Görl,
Barrington Levy,
OOIOO,
Skaos,
Gregory Isaacs,
The Count Five,
Gong,
Pete Rock & C.L. Smooth,
London Community Gospel Choir,
Simply Red,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.