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 Montenegro and from Houston.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Manchester and Salvador.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Tom Boy to the electroclash 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 Man Parrish. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Animal Collective,
Delon & Dalcan,
Sad Lovers and Giants,
In Retrospect,
Jandek,
The Names,
Procol Harum,
Bang On A Can,
The J.B.'s,
The United States of America,
CMW,
The Cramps,
Sister Nancy,
Brand Nubian,
Saccharine Trust,
Outsiders,
Bronski Beat,
Sällskapet,
Bobby Byrd,
Avey Tare,
David McCallum,
The Human League,
Bush Tetras,
The Sisters of Mercy,
X-101,
Goldenarms,
Thompson Twins,
Dark Day,
JFA,
Matthew Bourne,
The Five Americans,
B.T. Express,
DNA,
Isaac Hayes,
Morten Harket,
Dave Gahan,
Big Daddy Kane,
Andrew Hill,
Gichy Dan,
Man Eating Sloth,
The Associates,
Crash Course in Science,
Monks,
Public Image Ltd.,
Technova,
Lalo Schifrin,
Jesper Dahlback,
Chris Corsano,
Alton Ellis,
Kevin Saunderson,
Faust,
Soft Machine,
Lee Hazlewood,
the Bar-Kays,
The Blues Magoos,
Ronan,
Fluxion,
Glenn Branca,
The Detroit Cobras,
DeepChord presents Echospace,
Popol Vuh,
Judy Mowatt,
Anakelly, Anakelly, Anakelly, Anakelly.
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.