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 Guatemala 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 1960 to 1979.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Bremen 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 1970 at the first Onyeabor practice in a loft in Enugu.
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 Selector Dub Narcotic to the electroclash 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 Big Daddy Kane. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Susan Cadogan 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Youth Brigade,
X-Ray Spex,
Pantaleimon,
Infiniti,
Drive Like Jehu,
Kerri Chandler,
Sällskapet,
Spandau Ballet,
Soft Machine,
The Jesus and Mary Chain,
X-101,
E-Dancer,
The Seeds,
Avey Tare's Slasher Flicks,
The Sisters of Mercy,
Drexciya,
New Age Steppers,
Livin' Joy,
the Germs,
The Fuzztones,
A Certain Ratio,
Wings,
Supertramp,
Lalann,
New Order,
Desert Stars,
Kas Product,
The Stooges,
Barry Ungar,
Michelle Simonal,
Lizzy Mercier Descloux,
Lou Christie,
Toni Rubio,
David Axelrod,
the Sonics,
Barbara Tucker,
Grey Daturas,
the Normal,
Avey Tare & Kría Brekkan,
Can,
Man Parrish,
Pole,
Delon & Dalcan,
Nils Olav,
Television Personalities,
Black Pus,
The Wake,
One Last Wish,
Sly & The Family Stone,
Chris & Cosey,
Anakelly,
Sparks,
The Techniques, The Techniques, The Techniques, The Techniques.
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.