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 Russia and from Milan.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Deadbeat to the grunge 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 Index. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Erasure,
James Chance & The Contortions,
The Toasters,
Q and Not U,
Camberwell Now,
The Moody Blues,
Liliput,
Los Fastidios,
Roxette,
Wings,
Aural Exciters,
The Skatalites,
The Detroit Cobras,
Wasted Youth,
John Coltrane,
Guru Guru,
The Monks,
The Offenders,
World's Most,
Mission of Burma,
Ken Boothe,
Metal Thangz,
Throbbing Gristle,
Albert Ayler,
Groovy Waters,
La Düsseldorf,
Jacques Brel,
Red Lorry Yellow Lorry,
Youth Brigade,
The Grass Roots,
The Fire Engines,
Richard Hell and the Voidoids,
Khruangbin,
the Normal,
Crispian St. Peters,
Essential Logic,
The Gun Club,
Moebius,
The Sound,
The Move,
Cabaret Voltaire,
Joe Finger,
Nas,
Althea and Donna,
D'Angelo,
The Human League,
Derrick Morgan,
Todd Terry,
Ultra Naté,
Frankie Knuckles,
Eli Mardock,
Underground Resistance,
The Jesus and Mary Chain,
kango's stein massive,
Pierre Henry,
Tommy Roe,
Ajijia Myrayebe,
Crash Course in Science,
The New Christs,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.