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 San Marino and from Edmonton.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Drive Like Jehu to the dance 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 The Human League. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Avey Tare's Slasher Flicks,
X-102,
Camron Feat. Memphis Bleek And Beenie Seigel,
MDC,
Adolescents,
Sparks,
Jeff Lynne,
Aloha Tigers,
The Fuzztones,
D'Angelo,
Little Man,
Smog,
Joe Finger,
Lightning Bolt,
Joe Smooth,
Colin Newman,
Sly & The Family Stone,
Moebius,
Charles Mingus,
Altered Images,
Spoonie Gee,
Avey Tare & Kría Brekkan,
Hasil Adkins,
Michelle Simonal,
Selector Dub Narcotic,
Black Bananas,
Kaleidoscope,
Cecil Taylor,
Althea and Donna,
John Lydon,
Gil Scott-Heron & Brian Jackson,
Unwound,
Robert Wyatt,
Sonic Youth,
Kayak,
Arab on Radar,
Harry Pussy,
The Wake,
The Blackbyrds,
The Last Poets,
Stockholm Monsters,
The Gap Band,
Sam Rivers,
The Doobie Brothers,
Grey Daturas,
The Gladiators,
Mars,
Tim Buckley,
Alison Limerick,
Stiv Bators,
Eden Ahbez,
Desert Stars,
Delon & Dalcan,
Barry Ungar,
Drive Like Jehu,
Scion,
Symarip,
Marine Girls,
Average White Band,
Zero Boys,
The Pretty Things,
DNA, DNA, DNA, DNA.
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.