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 Djibouti and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Bremen 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 guitar 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 The Moleskins to the electroclash kids.
I played it at Cafe Wha.
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 Jeff Lynne. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Chris & Cosey,
Eric Dolphy,
Soul II Soul,
Ash Ra Tempel,
Camberwell Now,
Lungfish,
the Association,
Boogie Down Productions,
Bobby Byrd,
Can,
The Walker Brothers,
DJ Style,
Black Pus,
Severed Heads,
Morten Harket,
Quadrant,
Bronski Beat,
Avey Tare,
The Neon Judgement,
Country Joe & The Fish,
Skaos,
Louis and Bebe Barron,
Lou Reed & John Cale,
The Remains,
Skriet,
Althea and Donna,
Glenn Branca,
Mantronix,
Liliput,
Sight & Sound,
Ohio Players,
Prince Buster,
Half Japanese,
Graham Central Station,
Donny Hathaway,
Spoonie Gee,
Harmonia,
Radio Birdman,
Gerry Rafferty,
Yaz,
Kauko Röyhkä ja Narttu,
Sex Pistols,
Robert Hood,
Black Moon,
The Fugs,
The Sonics,
Inner City,
CMW,
The Invisible,
R.M.O.,
Moss Icon,
Fatback Band,
Amazonics,
Bootsy's Rubber Band,
Ralphi Rosario,
Agent Orange,
Bizarre Inc.,
Slick Rick,
World's Most,
Mary Jane Girls,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.