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 Japan and from Woodstock.
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 1977.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Manchester 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Bush Tetras to the rock 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 Ultravox. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Bauhaus,
Kerrie Biddell,
Dave Gahan,
The Golliwogs,
Bobby Hutcherson,
Terrestrial Tones,
D'Angelo,
Jeff Mills,
Johnny Osbourne,
the Germs,
Jerry Gold Smith,
Gary Puckett & The Union Gap,
Donny Hathaway,
Tropical Tobacco,
The Blackbyrds,
U.S. Maple,
Lakeside,
The Birthday Party,
New Order,
Skaos,
Suicide,
The New Christs,
Nation of Ulysses,
H. Thieme,
Bob Dylan,
The Saints,
Chris Corsano,
Q and Not U,
The Fall,
Leonard Cohen,
Thee Headcoats,
The Electric Prunes,
The Monochrome Set,
Moebius,
Moby Grape,
Patti Smith,
Kings Of Tomorrow,
Sly & The Family Stone,
Gastr Del Sol,
Freddie Wadling,
AZ,
Man Parrish,
Circle Jerks,
Gian Franco Pienzio,
Carl Craig,
Dr. Dre and Snoop Doggy Dog,
Sarah Menescal,
Lou Christie,
The Evens,
Jacques Brel,
Blancmange,
Cheater Slicks,
Siglo XX,
Kool G Rap & DJ Polo,
Ultimate Spinach,
the Sonics,
Alice Coltrane,
Sight & Sound,
The Star Department,
Aural Exciters,
Dawn Penn,
Danielle Patucci,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.