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 Cuba and from Edmonton.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 PIL to the dance kids.
I played it at the Spitz.
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 Leonard Cohen. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every This Heat 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
T.S.O.L.,
Bill Wells,
Flamin' Groovies,
Spandau Ballet,
Saccharine Trust,
Porter Ricks,
Ronnie Foster,
Stereo Dub,
Fad Gadget,
Ash Ra Tempel,
Japan,
Ponytail,
Sticky Fingaz feat. Raekwon,
Subhumans,
Gregory Isaacs,
Pharoah Sanders,
Sound Behaviour,
Gian Franco Pienzio,
Deakin,
Vainqueur,
Procol Harum,
Scrapy,
Mad Mike,
Barbara Tucker,
The Zeros,
JFA,
Kas Product,
Marmalade,
Grey Daturas,
The Fortunes,
Moby Grape,
Roy Ayers Ubiquity,
Bootsy's Rubber Band,
Piero Umiliani,
the Normal,
Unrelated Segments,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
The Slackers,
China Crisis,
Monolake,
The Chocolate Watch Band,
Hot Snakes,
Manfred Mann's Earth Band,
Ice-T,
Gang Gang Dance,
June Days,
Sällskapet,
Robert Wyatt,
OOIOO,
Mission of Burma,
Das Ding,
Average White Band,
Glenn Branca,
Neil Young,
Siglo XX,
Jeff Mills,
Michelle Simonal,
Tears for Fears,
Lou Reed & Metallica,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.