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 Albania and from Philadelphia.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Tehran 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the rock 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 Bad Manners. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Circle Jerks,
Siglo XX,
Marine Girls,
The Saints,
The United States of America,
Groovy Waters,
Scientists,
Radiopuhelimet,
Deepchord,
Ohio Players,
Strawberry Alarm Clock,
Technova,
the Fania All-Stars,
Eli Mardock,
Gong,
Bluetip,
Teenage Jesus and the Jerks,
Pagans,
Hot Snakes,
Pharoah Sanders,
The Fire Engines,
The Sound,
Adolescents,
Dual Sessions,
JFA,
The Standells,
Wings,
Dawn Penn,
Moby Grape,
Skarface,
Lou Reed & Metallica,
Gang Starr,
The Jesus and Mary Chain,
Sixth Finger,
The Move,
The Pretty Things,
Lakeside,
Tubeway Army,
Jerry's Kids,
Danielle Patucci,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Red Lorry Yellow Lorry,
Kool G Rap & DJ Polo,
Tears for Fears,
Television,
The Slackers,
Lou Reed & John Cale,
Au Pairs,
Barbara Tucker,
The Invisible,
Neil Young,
The Doobie Brothers,
Section 25,
Crispy Ambulance,
David Bowie,
Wighnomy Brothers & Robag Wruhme,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.