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 Serbia and from Lille.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 organ 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 Terry Callier to the dance kids.
I played it at the Hacienda.
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 Matthew Halsall. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every The Music Machine 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Faraquet,
the Fania All-Stars,
48th St. Collective,
The Shadows of Knight,
Colin Newman,
Todd Terry,
Livin' Joy,
The Techniques,
Ponytail,
Kings Of Tomorrow,
Thinking Fellers Union Local 282,
cv313,
JFA,
Mary Jane Girls,
The Tremeloes,
Brick,
The Sonics,
Easy Going,
The Neon Judgement,
Vainqueur,
Minnie Riperton,
Dead Boys,
Alison Limerick,
Tom Boy,
Al Stewart,
The Velvet Underground,
Juan Atkins,
It's A Beautiful Day,
Ten City,
Heaven 17,
Radiopuhelimet,
Tears for Fears,
Kerri Chandler,
Beasts of Bourbon,
Marc Romboy vs. Booka Shade,
Ultramagnetic MC's,
Gastr Del Sol,
Black Flag,
Joe Smooth,
Mars,
Andrew Ashong & Theo Parrish,
Ultra Naté,
Sound Behaviour,
Strawberry Alarm Clock,
Ludus,
Gong,
Quadrant,
Larry & the Blue Notes,
Arcadia,
Tres Demented,
Infiniti,
Sarah Menescal,
Deutsch Amerikanische Freundschaft,
John Foxx,
Soul II Soul,
Roy Ayers,
The Raincoats,
Public Enemy,
Hoover,
The Names,
E-Dancer,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.