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 Senegal and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Ornette Coleman to the jazz 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 H. Thieme. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Interpol 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Mummies,
Susan Cadogan,
Lower 48,
Marine Girls,
Banda Bassotti,
H. Thieme,
Nation of Ulysses,
Television,
Brand Nubian,
Hot Snakes,
Nico,
The Count Five,
Warsaw,
The Misunderstood,
Altered Images,
Main Source,
Dual Sessions,
The Chocolate Watch Band,
Television Personalities,
The J.B.'s,
Cal Tjader,
Big Daddy Kane,
The Dead C,
Bill Wells,
Angels of Light & Akron/Family,
Throbbing Gristle,
Infiniti,
Soul II Soul,
June Days,
Letta Mbulu,
Dr. Dre and Snoop Doggy Dog,
Lebanon Hanover,
Nick Cave & The Bad Seeds,
The Black Dice,
Andrew Hill,
Camberwell Now,
Joey Negro,
The Men They Couldn't Hang,
Reagan Youth,
Nik Kershaw,
Avey Tare,
Lyres,
Piero Umiliani,
Echo & the Bunnymen,
The Kinks,
Rekid,
Public Image Ltd.,
Sam Rivers,
Royal Trux,
Judy Mowatt,
Marvin Gaye,
Minor Threat,
Joe Smooth,
Massinfluence,
Erasure,
De La Soul & Jungle Brothers,
L. Decosne,
Icehouse,
Suicide,
Spandau Ballet,
Kings Of Tomorrow,
Dorothy Ashby,
Monks,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.