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 East Timor and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Columbus 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the synthesizer 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 Dave Gahan to the electroclash kids.
I played it at the Roxy.
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 Icehouse. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Morten Harket 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Mummies,
Schoolly D,
The Flesh Eaters,
Bang On A Can,
Beasts of Bourbon,
Technova,
Ronnie Foster,
Young Marble Giants,
Scientists,
Morten Harket,
Hashim,
John Cale,
Marcia Griffiths,
James White and The Blacks,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Newcleus,
Skaos,
Oblivians,
a-ha,
Fugazi,
Outsiders,
Susan Cadogan,
Frankie Knuckles,
The Motions,
June Days,
Mary Jane Girls,
Gang Gang Dance,
Unrelated Segments,
Urselle,
The Busters,
Blake Baxter,
Gastr Del Sol,
Rhythim Is Rhythim,
The Slits,
the Association,
Massinfluence,
Fear,
Girls At Our Best!,
A Certain Ratio,
Soul Sonic Force,
James Chance & The Contortions,
The Mojo Men,
Derrick May,
Sun Ra,
Quando Quango,
Brass Construction,
Y Pants,
Agent Orange,
Davy DMX,
Echospace,
The Men They Couldn't Hang,
Rod Modell,
Gang Starr,
Faust,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Royal Trux,
48th St. Collective,
UT, UT, UT, UT.
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.