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 Argentina and from Milan.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Busters to the disco 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 Gabor Szabo. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every The Doobie Brothers 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 '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Reagan Youth,
Country Joe & The Fish,
Moss Icon,
Hardrive,
Organ,
David McCallum,
Make Up,
Los Fastidios,
Rotary Connection,
Janne Schatter,
Delon & Dalcan,
Carl Craig,
The Seeds,
Deutsch Amerikanische Freundschaft,
Todd Terry,
Stereo Dub,
Minnie Riperton,
The Fuzztones,
Man Eating Sloth,
Jerry's Kids,
Average White Band,
Sarah Menescal,
Mark Hollis,
La Düsseldorf,
Cybotron,
Negative Approach,
Arthur Verocai,
Shoche,
The West Coast Pop Art Experimental Band,
Dead Boys,
Y Pants,
Swans,
Fear,
Alison Limerick,
Drexciya,
The Sisters of Mercy,
Sex Pistols,
Half Japanese,
The New Christs,
Index,
Big Daddy Kane,
New Age Steppers,
Cecil Taylor,
The Chocolate Watch Band,
The Dirtbombs,
Man Parrish,
The Techniques,
Selector Dub Narcotic,
EPMD,
Swell Maps,
Ossler,
Silicon Teens,
The Knickerbockers,
Max Romeo,
Joy Division,
Bill Wells,
Barry Ungar,
Jesper Dahlbäck,
Cabaret Voltaire,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.