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 Zimbabwe and from Milan.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Godley & Creme to the dance 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 Jesper Dahlbäck. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every The Kinks 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Reagan Youth,
Fat Boys,
The J.B.'s,
The Fugs,
Alton Ellis,
Peter & Gordon,
Yazoo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Christie,
Gang Green,
Rufus Thomas,
DeepChord presents Echospace,
Can,
Kerri Chandler,
Godley & Creme,
A Certain Ratio,
Gregory Isaacs,
The Men They Couldn't Hang,
Sight & Sound,
Eve St. Jones,
Sparks,
The Martian,
Be Bop Deluxe,
Charles Mingus,
Flamin' Groovies,
Aaron Thompson,
Bauhaus,
The Fortunes,
Dorothy Ashby,
Visionaries,LMNO, T- Love & Iriscience,
Sällskapet,
Cal Tjader,
Soulsonic Force,
Rites of Spring,
Reuben Wilson,
FM Einheit,
Patti Smith,
Spandau Ballet,
Major Organ And The Adding Machine,
Rahsaan Roland Kirk,
Bang On A Can,
Black Moon,
Neu!,
The Mojo Men,
Richard Hell and the Voidoids,
Saccharine Trust,
Nik Kershaw,
Procol Harum,
The Doobie Brothers,
The Alarm Clocks,
Ludus,
Lebanon Hanover,
Absolute Body Control,
Theoretical Girls,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.