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 Kenya and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 The Blackbyrds to the electroclash 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 Jimmy McGriff. All the underground hits.
All The Index tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Drexciya,
Hoover,
Sly & The Family Stone,
Dark Day,
It's A Beautiful Day,
Alton Ellis,
Electric Prunes,
Von Mondo,
Laurel Aitken,
Bang On A Can,
Avey Tare & Kría Brekkan,
Symarip,
Schoolly D,
The Zeros,
Lou Christie,
Gary Puckett & The Union Gap,
Funkadelic,
Janne Schatter,
The Monks,
Rosa Yemen,
The Modern Lovers,
Kayak,
Marc Romboy vs. Booka Shade,
Y Pants,
Spandau Ballet,
The J.B.'s,
the Normal,
The Young Rascals,
The Techniques,
The Neon Judgement,
Metal Thangz,
Connie Case,
Bang on a Can All-Stars,
Ash Ra Tempel,
Louis and Bebe Barron,
Andrew Hill,
Agitation Free,
Camron Feat. Jay Z And Juelz,
X-Ray Spex,
Sonny Sharrock,
Radiopuhelimet,
T. Rex,
Trumans Water,
The Victims,
Major Organ And The Adding Machine,
John Holt,
the Bar-Kays,
Fear,
Ponytail,
Al Stewart,
Yaz,
Harry Pussy,
Minny Pops,
Oppenheimer Analysis,
Kool Moe Dee,
Marshall Jefferson,
Jandek,
The Moody Blues,
Mark Hollis,
The Names, The Names, The Names, The Names.
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.