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 Cape Verde and from Bremen.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Loose Ends 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 David Bowie. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Royal Trux,
The Wake,
Harpers Bizarre,
Black Sheep,
Aaron Thompson,
Lucky Dragons,
Kayak,
Lou Reed,
Super Lover Cee & Casanova Rud,
Alice Coltrane,
Letta Mbulu,
Tommy Roe,
The Cowsills,
Derrick May,
Erasure,
The Saints,
The Divine Comedy,
Public Image Ltd.,
Adolescents,
Warren Ellis,
Monolake,
Ultra Naté,
Zero Boys,
Kings Of Tomorrow,
Quando Quango,
Joey Negro,
Eric Copeland,
Kas Product,
Slick Rick,
Peter Gordon & Love of Life Orchestra,
Visionaries,LMNO, T- Love & Iriscience,
Animal Collective,
Lee Hazlewood,
Fat Boys,
Swell Maps,
Glenn Branca,
Jesper Dahlback,
Severed Heads,
Monks,
Gil Scott-Heron & Brian Jackson,
Marshall Jefferson,
Lebanon Hanover,
Neu!,
Audionom,
Pharaoh Sanders and the Fire Engines,
Harmonia,
The American Breed,
The Pop Group,
Vainqueur,
Soft Cell,
Pierre Henry,
Scratch Acid,
the Fania All-Stars,
Oblivians,
Second Layer,
DNA,
The Durutti Column,
Country Teasers,
Skaos, Skaos, Skaos, Skaos.
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.