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 Togo and from Columbus.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 X-Ray Spex to the punk kids.
I played it at the Roxy.
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 Kango’s Stein Massive. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Ralphi Rosario,
Kango’s Stein Massive,
The Moleskins,
Kauko Röyhkä ja Narttu,
The Wake,
Danielle Patucci,
Hot Snakes,
Mad Mike,
Blake Baxter,
Lou Reed & Metallica,
Magazine,
Heavy D & The Boyz,
Cabaret Voltaire,
Chris Corsano,
Nico,
Crooked Eye,
Visage,
Dorothy Ashby,
Crash Course in Science,
Jacob Miller,
Nation of Ulysses,
Masters at Work,
June of 44,
Theoretical Girls,
Albert Ayler,
Dual Sessions,
Trumans Water,
The Martian,
X-Ray Spex,
The Evens,
The Smoke,
Aural Exciters,
Ten City,
Stiv Bators,
Josef K,
The Electric Prunes,
Nik Kershaw,
The Smiths,
The Real Kids,
Drexciya,
Todd Terry,
Barrington Levy,
Lower 48,
The Trojans,
Bootsy Collins,
Dennis Brown,
London Community Gospel Choir,
Arcadia,
Mars,
Crime,
Minutemen,
Justin Hinds & The Dominoes,
Sticky Fingaz feat. Raekwon,
Harry Pussy,
Shoche,
The West Coast Pop Art Experimental Band,
T.S.O.L.,
Tears for Fears,
Infiniti,
The Stooges,
Ash Ra Tempel,
EPMD,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.