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 Afghanistan and from Copenhagen.
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 1976.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when David Bowie 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 Darondo to the rap kids.
I played it at the Astoria.
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 Lakeside. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Q and Not U,
Avey Tare's Slasher Flicks,
Electric Prunes,
Bill Near,
Suburban Knight,
Maurizio,
Rekid,
Tomorrow,
Minnie Riperton,
Soft Cell,
Sun Ra Arkestra,
Angels of Light & Akron/Family,
Harmonia,
Second Layer,
The Buckinghams,
Hardrive,
The Modern Lovers,
Audionom,
Skarface,
Roger Hodgson,
Kool Moe Dee,
Kas Product,
Mad Mike,
Lungfish,
The Selecter,
Derrick Morgan,
Crash Course in Science,
Jeru the Damaja,
Pylon,
Urselle,
Orchestral Manoeuvres in the Dark,
Flash Fearless,
Jesper Dahlback,
Cluster,
Sly & The Family Stone,
Drexciya,
Tubeway Army,
The Index,
Ken Boothe,
Brass Construction,
Kerrie Biddell,
In Retrospect,
Jeff Lynne,
Peter & Gordon,
Isaac Hayes,
Make Up,
The Smiths,
R.M.O.,
Gary Puckett & The Union Gap,
The Divine Comedy,
The Cure,
Magazine,
Lebanon Hanover,
Spandau Ballet,
Dave Gahan,
Ultravox,
Animal Collective,
Major Organ And The Adding Machine,
Marmalade,
The Fall,
Stockholm Monsters,
Roxy Music,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.