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 Moldova and from Johannesburg.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Hardrive to the techno 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 Morten Harket. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Roxette,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
L. Decosne,
Swans,
The Gun Club,
The Victims,
The Wake,
X-101,
Kevin Saunderson,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Japan,
Country Joe & The Fish,
John Foxx,
Kurtis Blow,
Reagan Youth,
Sugar Minott,
Yusef Lateef,
Al Stewart,
Fifty Foot Hose,
10cc,
The Flesh Eaters,
Babytalk,
Skarface,
Ronnie Foster,
Black Flag,
Barry Ungar,
Sixth Finger,
Grauzone,
Röyhkä ja Rättö ja Lehtisalo,
Toni Rubio,
Patti Smith,
Althea and Donna,
Bobby Hutcherson,
Lebanon Hanover,
Public Image Ltd.,
Lalann,
Television Personalities,
Johnny Clarke,
Tears for Fears,
Parry Music,
Marshall Jefferson,
Moebius,
Model 500,
Banda Bassotti,
Nation of Ulysses,
Subhumans,
Schoolly D,
Desert Stars,
Alison Limerick,
Wasted Youth,
Black Sheep,
Tim Buckley,
MC5,
EPMD,
The Royal Family And The Poor,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donald Byrd,
The Alarm Clocks,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.