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 Iran and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet 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 Outsiders to the electroclash kids.
I played it at the Crocodile.
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 FM Einheit. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Radio Birdman 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 '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Ten City,
Ponytail,
Eurythmics,
Crash Course in Science,
Can,
The Trojans,
Sun Ra,
The Five Americans,
The Smoke,
Lightning Bolt,
Jawbox,
Clear Light,
Gang Gang Dance,
Black Bananas,
Nas,
Soft Cell,
June of 44,
Crime,
Liaisons Dangereuses,
The Sound,
Reagan Youth,
Scion,
Fad Gadget,
Depeche Mode,
Ralphi Rosario,
Robert Görl,
Carl Craig,
L. Decosne,
Underground Resistance,
Wolf Eyes,
Minutemen,
Pierre Henry,
Sad Lovers and Giants,
Stockholm Monsters,
Barrington Levy,
Bobby Womack,
Tropical Tobacco,
Boz Scaggs,
Trumans Water,
Pole,
The Doobie Brothers,
Swell Maps,
Curtis Mayfield,
Gary Puckett & The Union Gap,
Derrick Morgan,
Sarah Menescal,
Ornette Coleman,
Agitation Free,
Mission of Burma,
E-Dancer,
Bauhaus,
Franke,
Gil Scott Heron,
Electric Prunes,
Bill Wells,
Morten Harket,
Reuben Wilson,
Make Up,
Barry Ungar,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.