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 Lyon.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Spokane and Johannesburg.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Kurtis Blow to the grime kids.
I played it at the Spitz.
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 Cure. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer 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 chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Thompson Twins,
E-Dancer,
Niagra,
Crooked Eye,
Dave Gahan,
Gastr Del Sol,
Urselle,
Stereo Dub,
DJ Style,
Josef K,
Make Up,
Mr. Review,
Roy Ayers Ubiquity,
Guru Guru,
Excepter,
Unrelated Segments,
John Cale,
Stockholm Monsters,
Erasure,
Captain Beefheart & His Magic Band,
Motorama,
Trumans Water,
Spoonie Gee,
Second Layer,
Black Flag,
A Flock of Seagulls,
Jacques Brel,
Isaac Hayes,
X-101,
Shoche,
Joyce Sims,
Crime,
Qualms,
Roger Hodgson,
D'Angelo,
Danielle Patucci,
Dorothy Ashby,
Carl Craig,
Echo & the Bunnymen,
Wighnomy Brothers & Robag Wruhme,
World's Most,
Hoover,
Infiniti,
Japan,
Donald Byrd,
Lindisfarne,
David Axelrod,
Thee Headcoats,
The Gories,
Ornette Coleman,
Boz Scaggs,
Marmalade,
The Seeds,
The New Christs,
The Toasters,
Nils Olav,
Lakeside,
Porter Ricks,
The Dave Clark Five,
The Trojans, The Trojans, The Trojans, The Trojans.
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.