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 Lesotho and from Seoul.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Lagos 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 marimba 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 OOIOO to the jazz kids.
I played it at the Spitz.
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 Magazine. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Gong,
Oppenheimer Analysis,
Ten City,
Marcia Griffiths,
Babytalk,
Gang Starr,
Wighnomy Brothers & Robag Wruhme,
Eli Mardock,
In Retrospect,
Letta Mbulu,
Stiv Bators,
Albert Ayler,
Popol Vuh,
The Pop Group,
DJ Style,
Goldenarms,
Ossler,
Eddi Front,
Harry Pussy,
Funkadelic,
EPMD,
Marmalade,
The Electric Prunes,
Derrick May,
a-ha,
Terror Squad Feat. Camron,
The Busters,
The Royal Family And The Poor,
Idris Muhammad,
Reagan Youth,
Beasts of Bourbon,
Animal Collective,
Robert Hood,
Brick,
Rosa Yemen,
Kevin Saunderson,
Bauhaus,
The Residents,
Janne Schatter,
Inner City,
Duran Duran,
Sly & The Family Stone,
Maleditus Sound,
David Axelrod,
Kings Of Tomorrow,
Mission of Burma,
It's A Beautiful Day,
The Sisters of Mercy,
Tropical Tobacco,
Byron Stingily,
Icehouse,
Aloha Tigers,
Masters at Work,
Gil Scott Heron,
The Pretty Things,
Pharaoh Sanders and the Fire Engines,
the Bar-Kays,
Max Romeo,
Soft Cell,
John Lydon,
Crash Course in Science,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.