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 Tajikistan 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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Agitation Free to the crunk kids.
I played it at Trash.
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 Bauhaus. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Nation of Ulysses 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Big Daddy Kane,
Thinking Fellers Union Local 282,
Bush Tetras,
KRS-One,
Nils Olav,
Mary Jane Girls,
Marcia Griffiths,
Juan Atkins,
The Move,
Brass Construction,
Crime,
Bill Wells,
Newcleus,
Theoretical Girls,
Y Pants,
Blancmange,
Q and Not U,
Joe Finger,
Marvin Gaye,
Delon & Dalcan,
Public Enemy,
Peter and Kerry,
Quando Quango,
Radio Birdman,
Oneida,
Nas,
A Flock of Seagulls,
Man Parrish,
X-102,
Bobby Sherman,
Bad Manners,
Scott Walker,
Au Pairs,
Malaria!,
B.T. Express,
The Divine Comedy,
Arab on Radar,
Thee Headcoats,
Graham Central Station,
Excepter,
Jesper Dahlbäck,
Urselle,
Kings Of Tomorrow,
the Bar-Kays,
Siglo XX,
Joey Negro,
the Swans,
Junior Murvin,
The Five Americans,
Trumans Water,
Inner City,
Andrew Ashong & Theo Parrish,
Sandy B,
Dark Day,
Porter Ricks,
Sun Ra,
Symarip,
Flipper,
Swans, Swans, Swans, Swans.
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.