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 Afghanistan and from Madrid.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 Aswad to the disco kids.
I played it at the Astoria.
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 Juan Atkins. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Bluetip,
Ken Boothe,
The Index,
Sandy B,
the Association,
Kool Moe Dee,
Lou Reed,
Silicon Teens,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jacob Miller,
Black Sheep,
The Happenings,
Toni Rubio,
Sexual Harrassment,
Zapp,
Lindisfarne,
The Mummies,
Siouxsie and the Banshees,
The Techniques,
Infiniti,
Strawberry Alarm Clock,
Avey Tare,
Qualms,
Marc Romboy vs. Booka Shade,
The Toasters,
Absolute Body Control,
Fat Boys,
Ten City,
Organ,
Bootsy Collins,
The J.B.'s,
Pulsallama,
Spoonie Gee,
Rahsaan Roland Kirk,
Intrusion,
Gichy Dan,
Funky Four + One,
Eddi Front,
Mission of Burma,
Arcadia,
Lonnie Liston Smith,
One Last Wish,
Man Eating Sloth,
The Chocolate Watch Band,
Marc Almond,
Idris Muhammad,
Deakin,
Sixth Finger,
Art Ensemble Of Chicago,
New York Dolls,
The Knickerbockers,
Minor Threat,
Grandmaster Flash,
Hardrive,
Mr. Review,
Wighnomy Brothers & Robag Wruhme,
Tim Buckley,
Rowland S Howard / Lydia Lunch,
Technova,
Grauzone,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.