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 Benin and from Delhi.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Young Marble Giants to the dance kids.
I played it at CBGB's.
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 Can. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Theoretical Girls,
Rosa Yemen,
B.T. Express,
MC5,
Grauzone,
Hashim,
Depeche Mode,
T.S.O.L.,
Robert Hood,
Skarface,
Letta Mbulu,
The Young Rascals,
Organ,
Johnny Osbourne,
Fifty Foot Hose,
Black Pus,
Interpol,
Tubeway Army,
Basic Channel,
John Lydon,
Notorious BIG live in Amsterdam,
The Peanut Butter Conspiracy,
Thee Headcoats,
The Men They Couldn't Hang,
DNA,
Pet Shop Boys,
Clear Light,
Jerry Gold Smith,
The Fortunes,
Amazonics,
R.M.O.,
Banda Bassotti,
Bang On A Can,
World's Most,
A Flock of Seagulls,
Pete Rock & C.L. Smooth,
Simply Red,
Sam Rivers,
Morten Harket,
Cybotron,
Electric Prunes,
Alice Coltrane,
Girls At Our Best!,
Newcleus,
Crispian St. Peters,
Sister Nancy,
Zapp,
Young Marble Giants,
Flamin' Groovies,
Gil Scott-Heron & Brian Jackson,
The Real Kids,
Whodini,
Ralphi Rosario,
New Age Steppers,
The Shadows of Knight,
Barrington Levy,
Peter & Gordon,
Essential Logic,
Crash Course in Science,
Isaac Hayes,
Silicon Teens,
Marmalade, Marmalade, Marmalade, Marmalade.
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.