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 Indonesia and from Winnipeg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Lyon 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Be Bop Deluxe to the grunge kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Nick Fraelich 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Mary Jane Girls,
Gregory Isaacs,
David Bowie,
Reuben Wilson,
Cymande,
Notorious Big And Bone Thugs,
The Knickerbockers,
ABBA,
Jerry's Kids,
Ludus,
Adolescents,
Lou Reed & John Cale,
The Busters,
Jimmy McGriff,
Eurythmics,
Bobby Sherman,
MDC,
Scott Walker,
Tears for Fears,
John Coltrane,
Television,
Beasts of Bourbon,
Radiohead,
Malaria!,
Joe Smooth,
Babytalk,
Yazoo,
Yaz,
Gabor Szabo,
Jawbox,
Popol Vuh,
Kool G Rap & DJ Polo,
Jeru the Damaja,
Severed Heads,
The Doobie Brothers,
Maurizio,
Lower 48,
Faust,
Surgeon,
Spandau Ballet,
DJ Style,
Brass Construction,
Index,
Visage,
Dennis Brown,
Jeff Lynne,
Ronan,
Ultramagnetic MC's,
Matthew Halsall,
Lucky Dragons,
48th St. Collective,
The Associates,
The Red Krayola,
Bang on a Can All-Stars,
Chris & Cosey,
Rapeman,
Gang of Four,
Byron Stingily,
Dark Day,
E-Dancer,
Shoche,
Girls At Our Best!,
Main Source,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.