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 Liechtenstein and from Bologna.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Manila 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Wally Richardson 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 Godley & Creme. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Junior Murvin,
Thee Headcoats,
LL Cool J,
Bobby Sherman,
Qualms,
Mission of Burma,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
The Blues Magoos,
David McCallum,
La Düsseldorf,
The Victims,
Sixth Finger,
One Last Wish,
Janne Schatter,
Harmonia,
Mars,
Roy Ayers Ubiquity,
Organ,
Alton Ellis,
Black Moon,
Louis and Bebe Barron,
Minny Pops,
Bang On A Can,
Glenn Branca,
Parry Music,
Flipper,
Television Personalities,
Tears for Fears,
The New Christs,
Goldenarms,
Avey Tare & Kría Brekkan,
Strawberry Alarm Clock,
Masters at Work,
The Techniques,
Bob Dylan,
Bill Near,
The Skatalites,
Buzzcocks,
Delta 5,
The United States of America,
Icehouse,
Colin Newman,
Marc Almond,
Monolake,
Roxy Music,
Danielle Patucci,
Barclay James Harvest,
Soft Machine,
PIL,
Jeru the Damaja,
June Days,
Pete Rock & C.L. Smooth,
Cal Tjader,
Traffic Nightmare,
The Selecter,
Lou Reed & John Cale,
Unrelated Segments,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.