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 Togo and from Tokyo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Pantytec to the techno 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 Half Japanese. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Sandy B 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Au Pairs,
Fifty Foot Hose,
The Real Kids,
Bootsy Collins,
It's A Beautiful Day,
Spoonie Gee,
The Durutti Column,
Das Ding,
Bobby Womack,
Aswad,
The Smoke,
The Knickerbockers,
Selector Dub Narcotic,
Barclay James Harvest,
Porter Ricks,
Mary Jane Girls,
Banda Bassotti,
Joe Smooth,
Neil Young,
Crime,
The Kinks,
Gil Scott Heron,
Parry Music,
Adolescents,
Robert Görl,
John Foxx,
Bang on a Can All-Stars,
Kaleidoscope,
Sonic Youth,
Kool G Rap & DJ Polo,
Essential Logic,
Sunsets and Hearts,
Pylon,
Shoche,
The Cosmic Jokers,
Mark Hollis,
Josef K,
Drexciya,
Gil Scott-Heron and Jamie xx,
Jacob Miller,
Grandmaster Flash,
Reagan Youth,
Ken Boothe,
Thee Headcoats,
The Gap Band,
Vaughan Mason & Crew,
Intrusion,
DJ Style,
The Martian,
Mr. Review,
New Order,
Young Marble Giants,
Pet Shop Boys,
Brick,
Soul Sonic Force,
The Buckinghams,
Dorothy Ashby,
Nico,
Lou Christie,
Boz Scaggs,
Wire,
Franke, Franke, Franke, Franke.
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.