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 Marshall Islands and from Seoul.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Portland 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 Donald Fagen 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 Heavy D & The Boyz to the electroclash kids.
I played it at the Spitz.
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 Sight & Sound. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Fear,
Kurtis Blow,
Don Cherry,
Mad Mike,
Scion,
Gabor Szabo,
Deepchord,
The Motions,
Skaos,
Ken Boothe,
Kerri Chandler,
Gil Scott-Heron & Brian Jackson,
Gil Scott Heron,
Liaisons Dangereuses,
Jerry's Kids,
It's A Beautiful Day,
Darondo,
Tears for Fears,
Sight & Sound,
The Velvet Underground,
The Victims,
Henry Cow,
Main Source,
Dennis Brown,
Yazoo,
A Flock of Seagulls,
Pierre Henry,
Reuben Wilson,
Deakin,
Suicide,
JFA,
Pussy Galore,
Johnny Clarke,
Bobby Womack,
Hoover,
John Cale,
Black Moon,
Lalo Schifrin,
Sly & The Family Stone,
Essential Logic,
The Gap Band,
Sexual Harrassment,
Oppenheimer Analysis,
Public Image Ltd.,
London Community Gospel Choir,
Negative Approach,
The Last Poets,
Crime,
Animal Collective,
Outsiders,
Tubeway Army,
Maurizio,
Minny Pops,
Brothers Johnson,
Bobby Byrd,
Ossler,
Siouxsie and the Banshees,
Blancmange,
Khruangbin,
Bootsy Collins,
Parry Music,
Strawberry Alarm Clock,
Nas, Nas, Nas, Nas.
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.