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 Dominica and from Manchester.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 snare sounds with much patience.
I was there when Robert Palmer 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 Camron Feat. Jay Z And Juelz to the grunge kids.
I played it at Cafe Wha.
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 Iggy Pop. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
The Skatalites,
James White and The Blacks,
Junior Murvin,
Barclay James Harvest,
The Detroit Cobras,
Joey Negro,
Symarip,
The New Christs,
DJ Style,
Black Sheep,
Skarface,
Drive Like Jehu,
Connie Case,
Althea and Donna,
Wire,
Josef K,
Susan Cadogan,
The Slits,
Thinking Fellers Union Local 282,
Juan Atkins,
Dr. Dre and Snoop Doggy Dog,
Bobby Byrd,
the Fania All-Stars,
Pet Shop Boys,
Kaleidoscope,
The Offenders,
Visage,
Altered Images,
Audionom,
Swans,
Flipper,
David Axelrod,
Kas Product,
The Mojo Men,
Bill Near,
Amazonics,
Unrelated Segments,
Henry Cow,
DNA,
X-102,
Japan,
Adolescents,
Can,
Skriet,
Depeche Mode,
Chris & Cosey,
Hasil Adkins,
Subhumans,
B.T. Express,
The Neon Judgement,
Desert Stars,
Cluster,
The Monks,
Sexual Harrassment,
The Angels of Light,
The Beau Brummels,
Gregory Isaacs,
Minor Threat,
The Cowsills,
Electric Light Orchestra,
Man Parrish,
Pole,
Marmalade, Marmalade, Marmalade, Marmalade.
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.