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 Jamaica 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 1963 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 OOIOO to the punk kids.
I played it at CBGB's.
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 Peter and Kerry. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
The Busters,
Skriet,
The Cosmic Jokers,
Lebanon Hanover,
Amazonics,
Cluster,
Albert Ayler,
Brick,
John Foxx,
Blossom Toes,
Stockholm Monsters,
Warsaw,
Stereo Dub,
Amon Düül II,
Oneida,
Fifty Foot Hose,
The Kinks,
Eli Mardock,
Connie Case,
Bush Tetras,
Gabor Szabo,
Gerry Rafferty,
Dr. Dre and Snoop Doggy Dog,
X-102,
Harpers Bizarre,
Pierre Henry,
Qualms,
The Star Department,
Jesper Dahlbäck,
Spoonie Gee,
Chris & Cosey,
Guru Guru,
Peter Gordon & Love of Life Orchestra,
John Holt,
This Heat,
Echo & the Bunnymen,
The Jesus and Mary Chain,
Mandrill,
48th St. Collective,
Siouxsie and the Banshees,
Gang Gang Dance,
Supertramp,
UT,
T. Rex,
The Fire Engines,
Heavy D & The Boyz,
Bobby Womack,
Justin Hinds & The Dominoes,
Pere Ubu,
Young Marble Giants,
AZ,
The Sonics,
The Grass Roots,
Eve St. Jones,
Avey Tare's Slasher Flicks,
Pole,
Max Romeo,
Wasted Youth,
Subhumans,
Procol Harum,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.