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 Ireland and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Bremen 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 Robert Palmer 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 Flesh Eaters to the punk 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 Anthony Braxton. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
T.S.O.L.,
JFA,
Echospace,
kango's stein massive,
Blake Baxter,
Bill Near,
Godley & Creme,
Jacques Brel,
Technova,
Skaos,
Quadrant,
The Motions,
Talk Talk,
Whodini,
Sun Ra Arkestra,
Kaleidoscope,
Archie Shepp,
Moby Grape,
Stereo Dub,
New York Dolls,
Byron Stingily,
Wings,
Half Japanese,
Public Enemy,
The Grass Roots,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grandmaster Flash,
Kango’s Stein Massive,
Alison Limerick,
Gerry Rafferty,
Joensuu 1685,
The Sisters of Mercy,
Albert Ayler,
Bobby Womack,
The Music Machine,
Basic Channel,
Oblivians,
Visage,
Gang Gang Dance,
The Dirtbombs,
The Misunderstood,
Mars,
Heavy D & The Boyz,
The Remains,
Terrestrial Tones,
Vaughan Mason & Crew,
Procol Harum,
Throbbing Gristle,
Popol Vuh,
Ituana,
Brick,
New Order,
Mantronix,
Ultramagnetic MC's,
Angry Samoans,
Sound Behaviour,
The Seeds,
Juan Atkins,
John Foxx,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.