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 Qatar and from Johannesburg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 Con Funk Shun 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 The Velvet Underground. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Flash Fearless,
The Stooges,
the Soft Cell,
Kas Product,
MDC,
Cameo,
Y Pants,
Stetsasonic,
B.T. Express,
Anthony Braxton,
Fatback Band,
Tears for Fears,
Lou Reed,
Crooked Eye,
Deadbeat,
Matthew Bourne,
Notorious BIG live in Amsterdam,
Circle Jerks,
The Toasters,
Pet Shop Boys,
Moby Grape,
Magazine,
The Sisters of Mercy,
The Wake,
DeepChord presents Echospace,
Chris & Cosey,
Crime,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
Lou Christie,
John Foxx,
A Flock of Seagulls,
The Fugs,
Basic Channel,
Electric Prunes,
Lower 48,
Shoche,
OOIOO,
Nas,
Tommy Roe,
Procol Harum,
Adolescents,
The Chocolate Watch Band,
Brand Nubian,
Darondo,
The Mummies,
Liaisons Dangereuses,
Reuben Wilson,
Dark Day,
John Coltrane,
Grandmaster Flash and the Furious Five,
Bobby Byrd,
Gil Scott Heron,
Iggy Pop,
Lou Reed & John Cale,
Scion,
New Age Steppers,
The Sound,
Panda Bear,
Skriet,
The Black Dice,
DJ Sneak,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.