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 Austria and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Nas to the techno 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 John Cale. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Mad Mike 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Eric Dolphy,
A Flock of Seagulls,
Gang of Four,
Pierre Henry,
Bobbi Humphrey,
Gil Scott-Heron & Brian Jackson,
Deadbeat,
the Bar-Kays,
Beasts of Bourbon,
The Gap Band,
H. Thieme,
The Selecter,
cv313,
Mark Hollis,
Country Teasers,
Nils Olav,
Outsiders,
The Buckinghams,
Charles Mingus,
Bobby Sherman,
Lebanon Hanover,
Johnny Clarke,
Lucky Dragons,
Notorious BIG live in Amsterdam,
Neu!,
Cabaret Voltaire,
Eyeless In Gaza,
Nick Fraelich,
Monolake,
Groovy Waters,
Lou Christie,
Blossom Toes,
Radiopuhelimet,
The Electric Prunes,
Sonic Youth,
Heavy D & The Boyz,
Aural Exciters,
The West Coast Pop Art Experimental Band,
Janne Schatter,
Wighnomy Brothers & Robag Wruhme,
Mandrill,
The Victims,
DNA,
The Residents,
The Durutti Column,
Alton Ellis,
Ultravox,
Echo & the Bunnymen,
Skarface,
Terrestrial Tones,
Crash Course in Science,
The Searchers,
Jeru the Damaja,
Matthew Bourne,
Silicon Teens,
the Slits,
Glambeats Corp.,
Accadde A,
Ludus,
The New Christs, The New Christs, The New Christs, The New Christs.
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.