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 Iran and from Edmonton.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Mark Hollis to the dance kids.
I played it at the Hacienda.
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 Amon Düül II. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Cramps 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Big Daddy Kane,
Blossom Toes,
Girls At Our Best!,
De La Soul & Jungle Brothers,
Marcia Griffiths,
The Pop Group,
Junior Murvin,
Franke,
K-Klass,
Sight & Sound,
Bill Wells,
Kerrie Biddell,
The Martian,
Accadde A,
Average White Band,
Sunsets and Hearts,
The Star Department,
Drive Like Jehu,
Sarah Menescal,
Todd Terry,
Black Pus,
Derrick May,
Peter & Gordon,
Captain Beefheart & His Magic Band,
The Gun Club,
The Seeds,
Dark Day,
Public Image Ltd.,
Godley & Creme,
In Retrospect,
Gang Starr,
These Immortal Souls,
Anthony Braxton,
It's A Beautiful Day,
Organ,
Spandau Ballet,
The Raincoats,
Sandy B,
Aural Exciters,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Kerri Chandler,
the Soft Cell,
The Move,
Mars,
Monks,
Stetsasonic,
Gil Scott-Heron & Brian Jackson,
Rahsaan Roland Kirk,
Carl Craig,
Pagans,
Subhumans,
The Tremeloes,
Mr. Review,
Nirvana,
Intrusion,
Lalann,
Funkadelic,
June Days,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.