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 Macedonia and from Mumbai.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when David Bowie 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 Judy Mowatt to the grunge kids.
I played it at Trash.
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 Lou Reed. All the underground hits.
All The Names tracks. I heard you have a vinyl of every The Offenders 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Gories,
The Doobie Brothers,
Los Fastidios,
Lucky Dragons,
Rhythim Is Rhythim,
Joey Negro,
Gong,
Bob Dylan,
Au Pairs,
Bronski Beat,
Monolake,
Charles Mingus,
Matthew Bourne,
48th St. Collective,
Röyhkä ja Rättö ja Lehtisalo,
Desert Stars,
Qualms,
Mantronix,
Bush Tetras,
Warren Ellis,
X-102,
Mad Mike,
Absolute Body Control,
Cameo,
Cymande,
James White and The Blacks,
John Lydon,
Throbbing Gristle,
Silicon Teens,
kango's stein massive,
Ultra Naté,
DJ Sneak,
Kenny Larkin,
Oneida,
E-Dancer,
Toni Rubio,
Sonny Sharrock,
Neu!,
Robert Görl,
Be Bop Deluxe,
Black Moon,
Funkadelic,
Rites of Spring,
Main Source,
Radio Birdman,
The Dirtbombs,
Jerry's Kids,
Whodini,
Oblivians,
New York Dolls,
Roxy Music,
X-Ray Spex,
The Residents,
Tubeway Army,
Selector Dub Narcotic,
Dave Gahan,
Lou Reed,
Jeff Lynne,
Interpol,
Ossler,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.