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 Peru and from Delhi.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school London 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 Holger Czukay 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 CMW to the electroclash kids.
I played it at the 40 Watt.
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 Morten Harket. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
The Fortunes,
Barry Ungar,
Rapeman,
Black Pus,
Livin' Joy,
Hashim,
Circle Jerks,
Jawbox,
The Monks,
Supertramp,
The Jesus and Mary Chain,
The Techniques,
Erasure,
Albert Ayler,
Lebanon Hanover,
MC5,
Visionaries,LMNO, T- Love & Iriscience,
Soft Machine,
MDC,
Severed Heads,
Tropical Tobacco,
La Düsseldorf,
Colin Newman,
Swans,
Cabaret Voltaire,
Echospace,
DNA,
Scion,
The Associates,
Amazonics,
Barrington Levy,
LL Cool J,
Radiopuhelimet,
The Misunderstood,
Roy Ayers,
Sarah Menescal,
Charles Mingus,
Dark Day,
The Smoke,
Ten City,
Soul II Soul,
Laurel Aitken,
Grey Daturas,
Wolf Eyes,
Ituana,
Sight & Sound,
Sexual Harrassment,
The Seeds,
Gastr Del Sol,
Kenny Larkin,
Scrapy,
Kas Product,
The Modern Lovers,
The Music Machine,
Leonard Cohen,
Siouxsie and the Banshees,
Rhythm & Sound,
Mr. Review,
Donny Hathaway,
Eli Mardock,
Blake Baxter,
Sun Ra,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.