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 Chile and from Toronto.
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 1965 to 1972.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Johannesburg 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 theremin 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 Delta 5 to the grime kids.
I played it at the Crocodile.
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 Ossler. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Deutsch Amerikanische Freundschaft,
Andrew Hill,
Unrelated Segments,
Delon & Dalcan,
Second Layer,
Adolescents,
Neil Young,
A Certain Ratio,
The Angels of Light,
Los Fastidios,
Eurythmics,
The Young Rascals,
Stetsasonic,
Lindisfarne,
Silicon Teens,
Charles Mingus,
Sad Lovers and Giants,
Alton Ellis,
The Grass Roots,
Angry Samoans,
Harpers Bizarre,
Man Parrish,
The Slackers,
Severed Heads,
Warren Ellis,
Nick Cave & The Bad Seeds,
Pet Shop Boys,
Amon Düül II,
Graham Central Station,
Don Cherry,
John Holt,
Cameo,
Oneida,
Main Source,
Orchestral Manoeuvres in the Dark,
Marshall Jefferson,
The Wake,
Shoche,
Lou Reed & Metallica,
Sly & The Family Stone,
Derrick Morgan,
Ralphi Rosario,
Masters at Work,
Bootsy's Rubber Band,
The Walker Brothers,
Delta 5,
Country Joe & The Fish,
Bizarre Inc.,
The Stooges,
Eddi Front,
Scientists,
Peter and Kerry,
Jerry's Kids,
Bluetip,
Ajijia Myrayebe,
Moby Grape,
Wings,
Warsaw,
the Swans,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.