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 Oman and from Winnipeg.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Jakarta 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 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 Patti Smith to the electroclash kids.
I played it at the Hacienda.
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 Jimmy McGriff. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Eli Mardock,
Sonny Sharrock,
Vaughan Mason & Crew,
The Gun Club,
The Blackbyrds,
Alton Ellis,
Severed Heads,
Marshall Jefferson,
Lee Hazlewood,
Gichy Dan,
The New Christs,
Depeche Mode,
Notorious BIG live in Amsterdam,
Skarface,
Siglo XX,
Model 500,
Mission of Burma,
Lightning Bolt,
Blossom Toes,
Ohio Players,
Fear,
Tomorrow,
Roy Ayers Ubiquity,
Soft Cell,
Joe Finger,
Sparks,
Young Marble Giants,
Hoover,
Supertramp,
De La Soul & Jungle Brothers,
The Invisible,
Juan Atkins,
The Blues Magoos,
Barbara Tucker,
Heavy D & The Boyz,
The Misunderstood,
Intrusion,
DNA,
Lalann,
Howard Jones,
Tubeway Army,
Wally Richardson,
Television,
Angry Samoans,
The Alarm Clocks,
Flash Fearless,
Ossler,
Bob Dylan,
Sandy B,
Chris & Cosey,
Stiv Bators,
Surgeon,
Nick Fraelich,
Sex Pistols,
Shoche,
The Shadows of Knight,
Pantytec,
Brand Nubian,
A Flock of Seagulls,
Average White Band,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.