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 Bahrain and from Delhi.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Grass Roots to the techno kids.
I played it at the Roxy.
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 Mad Mike. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
June Days,
Manfred Mann's Earth Band,
Bizarre Inc.,
Tubeway Army,
The West Coast Pop Art Experimental Band,
Sight & Sound,
Kerri Chandler,
Sister Nancy,
Jesper Dahlback,
Soft Machine,
The Golliwogs,
Rites of Spring,
Lalann,
Byron Stingily,
Depeche Mode,
Kevin Saunderson,
Fort Wilson Riot,
The Star Department,
Dual Sessions,
Pulsallama,
Ralphi Rosario,
Black Pus,
T. Rex,
Iggy Pop,
DJ Sneak,
The Leaves,
Henry Cow,
Spandau Ballet,
Bootsy Collins,
New York Dolls,
Marmalade,
X-102,
CMW,
Cal Tjader,
Audionom,
Parry Music,
Fifty Foot Hose,
Quantec,
DJ Style,
Danielle Patucci,
Deakin,
The Gories,
Royal Trux,
Little Man,
Public Enemy,
Man Parrish,
The Five Americans,
Black Sheep,
Blake Baxter,
Unwound,
Basic Channel,
The Litter,
Be Bop Deluxe,
Maleditus Sound,
Organ,
Tom Boy,
Marcia Griffiths,
The Doors,
Make Up,
Deadbeat,
R.M.O.,
ABC,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.