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 Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Michael McDonald 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 The Doobie Brothers to the rap kids.
I played it at CBGB's.
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 Flamin' Groovies. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
The Victims,
Shoche,
Traffic Nightmare,
Ash Ra Tempel,
Yusef Lateef,
Ultramagnetic MC's,
The Vogues,
L. Decosne,
Bauhaus,
Kas Product,
Porter Ricks,
Siouxsie and the Banshees,
David McCallum,
The Walker Brothers,
A Certain Ratio,
Danielle Patucci,
Reagan Youth,
New Age Steppers,
Harry Pussy,
The Dirtbombs,
The Seeds,
Lucky Dragons,
Susan Cadogan,
Chrome,
Lebanon Hanover,
Pantytec,
The Electric Prunes,
Dennis Brown,
Faraquet,
Radiohead,
Stiv Bators,
Jimmy McGriff,
Eden Ahbez,
Unwound,
Tubeway Army,
Masters at Work,
Chris Corsano,
Urselle,
Boz Scaggs,
Lungfish,
R.M.O.,
Robert Hood,
The Sonics,
Icehouse,
Aswad,
the Slits,
Drive Like Jehu,
Maleditus Sound,
Cecil Taylor,
Black Pus,
Ultra Naté,
Isaac Hayes,
Nas,
New Order,
Surgeon,
The Remains,
Spandau Ballet,
Girls At Our Best!,
The Skatalites,
Oppenheimer Analysis,
Selector Dub Narcotic,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.