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 Swaziland and from Madrid.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Niagra to the dance kids.
I played it at the Crocodile.
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 Fifty Foot Hose. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Bauhaus 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
The Neon Judgement,
Newcleus,
Excepter,
The Trojans,
Strawberry Alarm Clock,
The Move,
Jacques Brel,
Matthew Halsall,
The Techniques,
Gil Scott Heron,
Amon Düül,
The Mighty Diamonds,
Juan Atkins,
U.S. Maple,
Infiniti,
Skarface,
Joensuu 1685,
the Fania All-Stars,
Sly & The Family Stone,
Alton Ellis,
Pharoah Sanders,
Rowland S Howard / Lydia Lunch,
The Monks,
Bronski Beat,
Nick Cave & The Bad Seeds,
Rod Modell,
Max Romeo,
A Flock of Seagulls,
Mandrill,
John Cale,
Roy Ayers,
Thee Headcoats,
Con Funk Shun,
The Fire Engines,
Donny Hathaway,
Outsiders,
Heavy D & The Boyz,
Cal Tjader,
Neil Young & Crazy Horse,
The Sound,
The J.B.'s,
Ituana,
Ken Boothe,
Sugar Minott,
Barrington Levy,
Kool Moe Dee,
Brass Construction,
Joey Negro,
The Smoke,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
The Doors,
Lebanon Hanover,
Teenage Jesus and the Jerks,
Sandy B,
Echospace,
Soft Machine,
Swell Maps,
Todd Rundgren,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.