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 Chad and from Stockholm.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Madrid 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Connie Case to the techno kids.
I played it at the 40 Watt.
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 Sixth Finger. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
New Order,
New Age Steppers,
The Dave Clark Five,
Crime,
The Techniques,
Darondo,
Peter and Kerry,
Derrick May,
Bush Tetras,
Motorama,
Buzzcocks,
Circle Jerks,
Tears for Fears,
Joyce Sims,
Crooked Eye,
Radio Birdman,
Deakin,
the Bar-Kays,
Art Ensemble Of Chicago,
The New Christs,
Oneida,
The Human League,
Saccharine Trust,
Arthur Verocai,
A Certain Ratio,
Carl Craig,
Surgeon,
Audionom,
Marc Romboy vs. Booka Shade,
X-Ray Spex,
Sunsets and Hearts,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Infiniti,
Sister Nancy,
Grandmaster Flash and the Furious Five,
Althea and Donna,
Black Moon,
The Knickerbockers,
ABC,
Joy Division,
Lalo Schifrin,
Joe Finger,
Vladislav Delay,
Gil Scott Heron,
Johnny Osbourne,
Rotary Connection,
Malaria!,
D'Angelo,
The Fugs,
Jerry's Kids,
Bad Manners,
The Selecter,
The Gun Club,
Depeche Mode,
The Residents,
Crispian St. Peters,
Das Ding,
Warren Ellis,
Sight & Sound,
cv313,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.