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 Qatar and from Delhi.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Scan 7 to the jazz kids.
I played it at the Astoria.
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 The Flesh Eaters. All the underground hits.
All a-ha 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 grunge 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Moebius,
Jacques Brel,
The Sound,
Television,
Robert Görl,
Slick Rick,
Kevin Saunderson,
Spandau Ballet,
Mr. Review,
Anthony Braxton,
Japan,
UT,
Bobbi Humphrey,
Skriet,
Duran Duran,
Boz Scaggs,
The Cosmic Jokers,
Stereo Dub,
Ralphi Rosario,
Curtis Mayfield,
Alice Coltrane,
Scott Walker,
Selector Dub Narcotic,
Soft Cell,
A Flock of Seagulls,
The Count Five,
Second Layer,
The Zeros,
Bizarre Inc.,
Chris Corsano,
Yellowson,
Roxette,
Grey Daturas,
Panda Bear,
Theoretical Girls,
Sun Ra Arkestra,
Danielle Patucci,
Supertramp,
David Bowie,
Sun City Girls,
Arthur Verocai,
Neil Young,
Mars,
Soulsonic Force,
James Chance & The Contortions,
Monks,
Ash Ra Tempel,
James White and The Blacks,
Magma,
Zapp,
Black Pus,
Peter & Gordon,
Janne Schatter,
Soft Machine,
The Remains,
Accadde A,
Blossom Toes,
The Shadows of Knight,
The Fugs,
June Days,
Ice-T,
John Holt,
Notorious BIG live in Amsterdam,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.