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 Argentina and from Glasgow.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Portland 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 rhodes 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 Sad Lovers and Giants to the punk 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 Shoche. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Roxy Music 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
cv313,
Severed Heads,
Jeff Lynne,
Blossom Toes,
Babytalk,
Radiopuhelimet,
Sugar Minott,
The Gun Club,
Barry Ungar,
Half Japanese,
Todd Terry,
Technova,
B.T. Express,
Lucky Dragons,
The Doors,
The Kinks,
Mission of Burma,
World's Most,
The Names,
Al Stewart,
Skarface,
Robert Hood,
Saccharine Trust,
KRS-One,
Tears for Fears,
Louis and Bebe Barron,
the Association,
Black Pus,
Livin' Joy,
Susan Cadogan,
Fear,
FM Einheit,
Spandau Ballet,
Ultimate Spinach,
The Moleskins,
Albert Ayler,
The Litter,
Kurtis Blow,
MC5,
Super Lover Cee & Casanova Rud,
Echospace,
Captain Beefheart & His Magic Band,
Scion,
The Techniques,
Thee Headcoats,
Model 500,
Marc Almond,
Goldenarms,
Wire,
Inner City,
F. McDonald,
Pharoah Sanders,
The Red Krayola,
Girls At Our Best!,
Depeche Mode,
The Vogues,
Moebius,
Sexual Harrassment,
The Fall,
Junior Murvin,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.