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 Ecuador and from Bremen.
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 1964 to 1976.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 harpsichord 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 Kango’s Stein Massive to the rock kids.
I played it at the Hacienda.
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 Spoonie Gee. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Shuggie Otis,
Patti Smith,
Technova,
Crash Course in Science,
Susan Cadogan,
Pete Rock & C.L. Smooth,
Index,
Josef K,
10cc,
Richard Hell and the Voidoids,
Desert Stars,
The Neon Judgement,
Charles Mingus,
Porter Ricks,
Stockholm Monsters,
Kauko Röyhkä ja Narttu,
Rhythm & Sound,
The Cramps,
the Soft Cell,
Lightning Bolt,
The Evens,
Niagra,
Vainqueur,
Little Man,
Quantec,
Mo-Dettes,
Parry Music,
Gang Gang Dance,
Janne Schatter,
Cal Tjader,
Harpers Bizarre,
Pagans,
Gregory Isaacs,
Rites of Spring,
Darondo,
Clear Light,
Jandek,
Metal Thangz,
Gang Green,
Unwound,
The Martian,
Matthew Bourne,
Gang of Four,
Oppenheimer Analysis,
Aswad,
Andrew Hill,
Gil Scott-Heron & Brian Jackson,
Lizzy Mercier Descloux,
Chris & Cosey,
Crime,
Whodini,
Sonny Sharrock,
Roxette,
Rufus Thomas,
Sun Ra,
Howard Jones,
Isaac Hayes,
Supertramp,
Wighnomy Brothers & Robag Wruhme,
Be Bop Deluxe,
Black Pus,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.