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 Kuwait and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Beijing 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the linndrum 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 Kinks to the rap 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 Minnie Riperton. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Todd Terry 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Bobby Sherman,
Lizzy Mercier Descloux,
Maurizio,
Suburban Knight,
David Axelrod,
Panda Bear,
cv313,
Television Personalities,
Jerry's Kids,
Reuben Wilson,
Pagans,
Q and Not U,
The Music Machine,
The Doobie Brothers,
Pulsallama,
DeepChord presents Echospace,
Electric Prunes,
Eddi Front,
The Fuzztones,
Soft Cell,
Bobbi Humphrey,
Sandy B,
Crime,
Robert Görl,
Blake Baxter,
Black Pus,
Soul Sonic Force,
Soulsonic Force,
The Birthday Party,
Mantronix,
Marshall Jefferson,
Das Ding,
the Soft Cell,
Kaleidoscope,
Louis and Bebe Barron,
Sun Ra,
Don Cherry,
John Foxx,
Monks,
Crispy Ambulance,
Tim Buckley,
Sad Lovers and Giants,
Gregory Isaacs,
Gil Scott Heron,
Susan Cadogan,
Audionom,
Procol Harum,
Angry Samoans,
Goldenarms,
Sonny Sharrock,
Gichy Dan,
The West Coast Pop Art Experimental Band,
The Associates,
Avey Tare,
The Men They Couldn't Hang,
Popol Vuh,
Pierre Henry,
Darondo,
X-102,
Gang Gang Dance,
Accadde A,
Model 500, Model 500, Model 500, Model 500.
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.