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 Haiti and from Lyon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Lyon 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 marimba sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the grime 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 Be Bop Deluxe. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Marcia Griffiths 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Slits,
Pere Ubu,
Ralphi Rosario,
Depeche Mode,
Oblivians,
Vladislav Delay,
Sight & Sound,
Idris Muhammad,
The Happenings,
A Flock of Seagulls,
The Dave Clark Five,
Nico,
Althea and Donna,
Eric B and Rakim,
The United States of America,
Scott Walker,
Country Joe & The Fish,
Motorama,
Mary Jane Girls,
Television,
Delta 5,
Matthew Bourne,
Sticky Fingaz feat. Raekwon,
Section 25,
Fear,
Kaleidoscope,
Roy Ayers,
Angels of Light & Akron/Family,
Easy Going,
Chris Corsano,
The Victims,
Bill Wells,
Gabor Szabo,
Symarip,
The Birthday Party,
Country Teasers,
Fatback Band,
Amazonics,
The Beau Brummels,
Larry & the Blue Notes,
Connie Case,
Half Japanese,
Los Fastidios,
It's A Beautiful Day,
Pierre Henry,
The New Christs,
Alice Coltrane,
Minutemen,
Loose Ends,
Angry Samoans,
The Slackers,
F. McDonald,
Sun Ra Arkestra,
Oppenheimer Analysis,
Intrusion,
the Human League,
Major Organ And The Adding Machine,
Harry Pussy,
Johnny Osbourne,
Suburban Knight,
Cymande,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.