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 Australia and from Beijing.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Man Parrish to the crunk kids.
I played it at the 40 Watt.
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 Skriet. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Lakeside,
Selector Dub Narcotic,
Idris Muhammad,
Pierre Henry,
Sun Ra,
Aloha Tigers,
Japan,
the Human League,
Radio Birdman,
Icehouse,
The Jesus and Mary Chain,
Unrelated Segments,
Mandrill,
Electric Prunes,
Chrome,
Animal Collective,
Von Mondo,
Avey Tare's Slasher Flicks,
KRS-One,
The Index,
Laurel Aitken,
Darondo,
Tres Demented,
Crispy Ambulance,
Susan Cadogan,
Lonnie Liston Smith,
The New Christs,
Hasil Adkins,
Wire,
Basic Channel,
Essential Logic,
MC5,
The Names,
Half Japanese,
Man Eating Sloth,
DJ Style,
Unwound,
Deadbeat,
Rapeman,
Desert Stars,
Kevin Saunderson,
cv313,
Wasted Youth,
U.S. Maple,
Robert Hood,
Aaron Thompson,
Neu!,
Althea and Donna,
Red Lorry Yellow Lorry,
Barry Ungar,
Rosa Yemen,
The Gories,
The Fire Engines,
Joyce Sims,
Andrew Ashong & Theo Parrish,
John Coltrane,
Beasts of Bourbon,
Matthew Halsall,
the Fania All-Stars,
Severed Heads,
Guru Guru,
Scrapy,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.