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 Kiribati and from Taipei.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Kayak to the disco 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 Essential Logic. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Bobbi Humphrey,
The Modern Lovers,
Pharoah Sanders,
Avey Tare & Kría Brekkan,
Max Romeo,
Inner City,
The Real Kids,
Clear Light,
Fear,
Thee Headcoats,
Throbbing Gristle,
Gregory Isaacs,
Circle Jerks,
the Slits,
The Evens,
June Days,
The Grass Roots,
Pierre Henry,
Ken Boothe,
The Sisters of Mercy,
The J.B.'s,
The Index,
Bang on a Can All-Stars,
Deutsch Amerikanische Freundschaft,
Robert Hood,
Youth Brigade,
It's A Beautiful Day,
ABBA,
The Slits,
T. Rex,
Leonard Cohen,
Q and Not U,
Warsaw,
The American Breed,
LL Cool J,
Harpers Bizarre,
Mo-Dettes,
Mary Jane Girls,
Accadde A,
Drexciya,
Ornette Coleman,
Bauhaus,
Hasil Adkins,
Black Moon,
The Fuzztones,
Danielle Patucci,
Peter Gordon & Love of Life Orchestra,
Kurtis Blow,
Spandau Ballet,
Rapeman,
The Wake,
Masters at Work,
Deakin,
Godley & Creme,
Slave,
New York Dolls,
Roxy Music,
OOIOO,
Tommy Roe,
The Cramps, The Cramps, The Cramps, The Cramps.
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.