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 Burkina and from Glasgow.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Houston 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the theremin 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 The Fortunes to the disco 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 Roger Hodgson. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Khruangbin 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Mars,
The Smoke,
The Fugs,
Pulsallama,
B.T. Express,
John Foxx,
Urselle,
David McCallum,
Ralphi Rosario,
cv313,
Gichy Dan,
The Last Poets,
Bobbi Humphrey,
It's A Beautiful Day,
Outsiders,
Scan 7,
Sugar Minott,
Sandy B,
Wasted Youth,
Little Man,
The Cosmic Jokers,
The Motions,
Mr. Review,
Dual Sessions,
Visage,
The Grass Roots,
Matthew Bourne,
The Dead C,
Nation of Ulysses,
Tres Demented,
Aaron Thompson,
The Jesus and Mary Chain,
Jerry Gold Smith,
Red Lorry Yellow Lorry,
The Litter,
Man Eating Sloth,
Magazine,
Half Japanese,
The Residents,
Anakelly,
Byron Stingily,
Deakin,
James Chance & The Contortions,
Fear,
Kerrie Biddell,
Gregory Isaacs,
Jandek,
Boredoms,
Hoover,
Lyres,
DJ Style,
Agitation Free,
Sun Ra,
Sarah Menescal,
Can,
U.S. Maple,
Johnny Osbourne,
Nik Kershaw,
David Axelrod,
Audionom,
OOIOO,
Dave Gahan,
Pagans, Pagans, Pagans, Pagans.
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.