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 Algeria and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Rufus Thomas to the funk 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 Susan Cadogan. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Roger Hodgson,
Funkadelic,
Moby Grape,
The Trojans,
The Beau Brummels,
Crispian St. Peters,
Avey Tare & Kría Brekkan,
Glambeats Corp.,
Au Pairs,
Excepter,
Model 500,
Rites of Spring,
Swans,
Barry Ungar,
John Holt,
Subhumans,
the Swans,
Los Fastidios,
Donny Hathaway,
The Remains,
PIL,
Terrestrial Tones,
Porter Ricks,
Chris & Cosey,
Pierre Henry,
Electric Light Orchestra,
Kas Product,
Joey Negro,
Grey Daturas,
the Germs,
Unrelated Segments,
Mandrill,
The Gap Band,
ABC,
Ultravox,
Zapp,
The Smiths,
Bootsy Collins,
The Walker Brothers,
JFA,
Mo-Dettes,
Kurtis Blow,
The American Breed,
The Star Department,
The Associates,
Andrew Hill,
DNA,
Dual Sessions,
Minor Threat,
The United States of America,
the Slits,
Absolute Body Control,
The Alarm Clocks,
Wighnomy Brothers & Robag Wruhme,
Jesper Dahlback,
Alison Limerick,
Graham Central Station,
Sunsets and Hearts,
Lindisfarne,
Kayak,
Gang Gang Dance,
The Motions,
Jandek, Jandek, Jandek, Jandek.
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.