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 Sudan and from Spokane.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Bologna 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 Michael McDonald 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 Flipper to the grime kids.
I played it at the Troubador.
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 Pulsallama. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Derrick Morgan,
L. Decosne,
Tommy Roe,
Skaos,
Delta 5,
Albert Ayler,
The Stooges,
Lee Hazlewood,
Robert Hood,
KRS-One,
The Buckinghams,
London Community Gospel Choir,
Barclay James Harvest,
The Gories,
Jerry Gold Smith,
Newcleus,
Marcia Griffiths,
the Bar-Kays,
Ronan,
The Star Department,
Gang Green,
Monolake,
Matthew Bourne,
Bobby Byrd,
Con Funk Shun,
Rekid,
The Smiths,
Peter & Gordon,
Gichy Dan,
Cybotron,
Rhythm & Sound,
Dennis Brown,
Kayak,
Orchestral Manoeuvres in the Dark,
the Soft Cell,
Moss Icon,
Major Organ And The Adding Machine,
Dark Day,
New Order,
Crash Course in Science,
the Association,
Rosa Yemen,
The Royal Family And The Poor,
June Days,
Brothers Johnson,
Beasts of Bourbon,
Hoover,
Bad Manners,
The Busters,
The Real Kids,
Lindisfarne,
The Dead C,
Gary Puckett & The Union Gap,
Crispy Ambulance,
Tubeway Army,
DJ Sneak,
Deakin,
Icehouse,
Siglo XX,
8 Eyed Spy,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.