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 Montenegro and from Madrid.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Negative Approach to the dance kids.
I played it at Cafe Wha.
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 Grauzone. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Reuben Wilson,
KRS-One,
Y Pants,
Swans,
Monks,
the Soft Cell,
Harmonia,
Lafayette Afro Rock Band,
PIL,
Boredoms,
John Foxx,
Mantronix,
AZ,
London Community Gospel Choir,
Marcia Griffiths,
La Düsseldorf,
Major Organ And The Adding Machine,
Fat Boys,
The Seeds,
Bad Manners,
Lou Reed & John Cale,
the Bar-Kays,
The Fuzztones,
Eurythmics,
Lyres,
Peter & Gordon,
The Buckinghams,
Avey Tare's Slasher Flicks,
Severed Heads,
Roy Ayers Ubiquity,
Kas Product,
The Peanut Butter Conspiracy,
Malaria!,
The Smoke,
The Misunderstood,
Heavy D & The Boyz,
Richard Hell and the Voidoids,
Grauzone,
Maleditus Sound,
Arthur Verocai,
Anthony Braxton,
Anakelly,
Electric Light Orchestra,
Q65,
Procol Harum,
Goldenarms,
the Slits,
The Skatalites,
Toni Rubio,
Unwound,
The Dave Clark Five,
H. Thieme,
Crispian St. Peters,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.