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 Bolivia and from Houston.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Accra 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Erasure to the rap 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 The Gun Club. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Interpol,
Mr. Review,
Bobbi Humphrey,
Jimmy McGriff,
Amon Düül,
Graham Central Station,
The Fall,
Parry Music,
Ohio Players,
Man Eating Sloth,
The Raincoats,
Pagans,
Ultravox,
cv313,
June of 44,
Sonic Youth,
Sun Ra Arkestra,
Blake Baxter,
Kurtis Blow,
Connie Case,
Section 25,
Skriet,
Robert Görl,
Amon Düül II,
Clear Light,
Cecil Taylor,
Anthony Braxton,
The United States of America,
Rahsaan Roland Kirk,
Zapp,
World's Most,
Camberwell Now,
The Pretty Things,
Thinking Fellers Union Local 282,
Deutsch Amerikanische Freundschaft,
Bizarre Inc.,
Soft Cell,
Richard Hell and the Voidoids,
Justin Hinds & The Dominoes,
Au Pairs,
Pete Rock & C.L. Smooth,
New York Dolls,
Eddi Front,
Skaos,
The Gun Club,
Fugazi,
The Tremeloes,
Oppenheimer Analysis,
The Gladiators,
PIL,
LL Cool J,
Ten City,
Mo-Dettes,
Jerry's Kids,
The Flesh Eaters,
Fear,
Sixth Finger,
Lou Reed & John Cale,
Sound Behaviour,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.