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 Monaco and from Mexico City.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Milan 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Von Mondo to the disco 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 Dawn Penn. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Arab on Radar,
David McCallum,
The Real Kids,
Lyres,
Masters at Work,
Selector Dub Narcotic,
Tim Buckley,
Freddie Wadling,
John Coltrane,
Sarah Menescal,
Rosa Yemen,
Inner City,
Absolute Body Control,
Q and Not U,
Animal Collective,
Roy Ayers Ubiquity,
Average White Band,
Swell Maps,
Black Pus,
Mr. Review,
Eyeless In Gaza,
Nik Kershaw,
Funky Four + One,
The Fall,
Deepchord,
Sister Nancy,
The Vogues,
The Young Rascals,
Los Fastidios,
The Victims,
The Pretty Things,
Robert Hood,
Althea and Donna,
Banda Bassotti,
Easy Going,
The Black Dice,
China Crisis,
The Sound,
the Sonics,
Motorama,
Sugar Minott,
Thee Headcoats,
Trumans Water,
Aloha Tigers,
Duran Duran,
Pole,
Cymande,
OOIOO,
The Tremeloes,
Lafayette Afro Rock Band,
The Shadows of Knight,
Kings Of Tomorrow,
Minutemen,
Quadrant,
Country Joe & The Fish,
Urselle,
Stockholm Monsters,
The Residents,
Bluetip,
Livin' Joy,
Wasted Youth,
Lightning Bolt,
The Remains, The Remains, The Remains, The Remains.
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.