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 Libya and from Tehran.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Portland 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Fear to the techno 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 a-ha. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Gang Gang Dance 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a snare 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 organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Half Japanese,
Country Teasers,
Howard Jones,
Cheater Slicks,
The Cowsills,
The J.B.'s,
Lower 48,
Marmalade,
Art Ensemble Of Chicago,
EPMD,
Black Pus,
Ponytail,
Ultra Naté,
Peter and Kerry,
The Toasters,
Wire,
Deakin,
Wasted Youth,
Joe Finger,
Glenn Branca,
The New Christs,
Marc Almond,
Sarah Menescal,
Eric Copeland,
Alphaville,
Ajijia Myrayebe,
David McCallum,
Curtis Mayfield,
Jesper Dahlback,
Jeff Mills,
Spandau Ballet,
The Standells,
The Gap Band,
The Misunderstood,
Bluetip,
The Wake,
Mantronix,
The Techniques,
Flipper,
Blossom Toes,
The Seeds,
The Mummies,
Lebanon Hanover,
Neil Young,
Althea and Donna,
Deepchord,
Gian Franco Pienzio,
Scan 7,
Mo-Dettes,
June of 44,
Stockholm Monsters,
Ken Boothe,
Orchestral Manoeuvres in the Dark,
Girls At Our Best!,
Section 25,
Toni Rubio,
Gary Puckett & The Union Gap,
Soft Machine,
China Crisis,
Public Image Ltd.,
Prince Buster,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.