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 Ghana and from Tehran.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Lou Reed 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 Bar-Kays to the rap 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 Kauko Röyhkä ja Narttu. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Vaughan Mason & Crew,
The Music Machine,
The Pretty Things,
The Sound,
Average White Band,
Avey Tare & Kría Brekkan,
Alison Limerick,
Roxy Music,
Lyres,
The Fortunes,
Sun City Girls,
James Chance & The Contortions,
The Walker Brothers,
Lou Reed & John Cale,
Minny Pops,
Porter Ricks,
Spoonie Gee,
Moss Icon,
Wasted Youth,
Donald Byrd,
Mantronix,
Bobby Sherman,
Aswad,
Camron Feat. Memphis Bleek And Beenie Seigel,
Freddie Wadling,
Glenn Branca,
the Bar-Kays,
Morten Harket,
Deutsch Amerikanische Freundschaft,
The Five Americans,
Al Stewart,
The Associates,
Soulsonic Force,
Eddi Front,
Black Sheep,
John Coltrane,
Scientists,
London Community Gospel Choir,
Connie Case,
Young Marble Giants,
Sandy B,
The Chocolate Watch Band,
New York Dolls,
The Red Krayola,
The Detroit Cobras,
Bob Dylan,
The Men They Couldn't Hang,
Judy Mowatt,
Matthew Bourne,
Avey Tare,
The Move,
Heaven 17,
It's A Beautiful Day,
Vladislav Delay,
DeepChord presents Echospace,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.