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 Kuwait and from Hong Kong.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Residents to the funk 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 Niagra. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every The Grass Roots 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 '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
The Names,
The Dirtbombs,
Young Marble Giants,
Lou Reed & Metallica,
Spoonie Gee,
Clear Light,
Moss Icon,
Aswad,
Notorious BIG live in Amsterdam,
Oppenheimer Analysis,
10cc,
Ultramagnetic MC's,
Accadde A,
Rekid,
Severed Heads,
Delta 5,
It's A Beautiful Day,
Amazonics,
Wolf Eyes,
Slick Rick,
Lalo Schifrin,
UT,
The Selecter,
Avey Tare & Kría Brekkan,
Bobbi Humphrey,
OOIOO,
June Days,
The Knickerbockers,
Henry Cow,
Piero Umiliani,
Junior Murvin,
Kango’s Stein Massive,
Siouxsie and the Banshees,
Aural Exciters,
Jacob Miller,
The Pretty Things,
Suicide,
Man Eating Sloth,
48th St. Collective,
Sly & The Family Stone,
The Alarm Clocks,
The Gladiators,
The Flesh Eaters,
Rod Modell,
New Age Steppers,
Rowland S Howard / Lydia Lunch,
Essential Logic,
Marine Girls,
Bill Near,
New York Dolls,
MDC,
Ronan,
Nico,
Sugar Minott,
The Standells,
The American Breed,
The Dead C,
Wasted Youth,
Bill Wells,
Jerry Gold Smith,
Schoolly D,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.