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 Malaysia and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Hasil Adkins to the disco 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 Public Enemy. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Gastr Del Sol,
Black Pus,
Warsaw,
The Doobie Brothers,
Jerry Gold Smith,
The Stooges,
Skaos,
Eric Copeland,
Selector Dub Narcotic,
The Walker Brothers,
Electric Prunes,
The West Coast Pop Art Experimental Band,
Unwound,
Gong,
Robert Görl,
Barrington Levy,
Arthur Verocai,
Swans,
Vainqueur,
UT,
48th St. Collective,
Graham Central Station,
Gary Puckett & The Union Gap,
Nation of Ulysses,
Mr. Review,
Tears for Fears,
Rites of Spring,
Soft Cell,
The Mighty Diamonds,
Jerry's Kids,
Art Ensemble Of Chicago,
Dennis Brown,
Sun Ra,
Avey Tare & Kría Brekkan,
Kurtis Blow,
Jeff Mills,
Zero Boys,
Boz Scaggs,
The Gap Band,
The Toasters,
X-101,
Suburban Knight,
Pere Ubu,
Lafayette Afro Rock Band,
Cymande,
Max Romeo,
The Fuzztones,
MC5,
the Swans,
EPMD,
Ponytail,
June of 44,
Second Layer,
Joey Negro,
Ten City,
Gian Franco Pienzio,
U.S. Maple,
kango's stein massive,
Roger Hodgson,
Organ, Organ, Organ, Organ.
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.