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 Lithuania and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Orchestral Manoeuvres in the Dark to the grime kids.
I played it at the Astoria.
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 Gang Starr. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Roy Ayers Ubiquity,
Throbbing Gristle,
The Detroit Cobras,
B.T. Express,
Kool Moe Dee,
Don Cherry,
Bush Tetras,
Johnny Osbourne,
Joey Negro,
Robert Hood,
Sandy B,
Liaisons Dangereuses,
Cameo,
Siouxsie and the Banshees,
Susan Cadogan,
Hardrive,
Whodini,
Scott Walker,
PIL,
Minnie Riperton,
Yazoo,
Massinfluence,
Quadrant,
Pagans,
Moss Icon,
F. McDonald,
Gerry Rafferty,
Dark Day,
Sarah Menescal,
Q and Not U,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Cymande,
The Red Krayola,
Chris & Cosey,
a-ha,
Gang of Four,
Darondo,
cv313,
D'Angelo,
Trumans Water,
Joensuu 1685,
Iggy Pop,
Suicide,
Cluster,
Moby Grape,
Mo-Dettes,
Al Stewart,
Kas Product,
Ronnie Foster,
Sixth Finger,
Sexual Harrassment,
Jerry's Kids,
Outsiders,
Aaron Thompson,
Talk Talk,
Con Funk Shun,
ABBA,
Wire,
Supertramp,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.