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 Angola and from Jakarta.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 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 Half Japanese to the jazz kids.
I played it at the Troubador.
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 Mandrill. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Ornette Coleman 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
The Moleskins,
Suburban Knight,
Motorama,
Kings Of Tomorrow,
Blancmange,
Stetsasonic,
The Skatalites,
Echo & the Bunnymen,
Lonnie Liston Smith,
The Doors,
Stiv Bators,
Gian Franco Pienzio,
cv313,
Althea and Donna,
Deakin,
The Dirtbombs,
Roxy Music,
Ronan,
Junior Murvin,
Drive Like Jehu,
Scrapy,
Infiniti,
Electric Prunes,
Peter and Kerry,
Joy Division,
PIL,
Skarface,
Grandmaster Flash and the Furious Five,
Todd Terry,
DNA,
The Velvet Underground,
The Walker Brothers,
Cybotron,
Steve Hackett,
The Royal Family And The Poor,
Massinfluence,
Avey Tare & Kría Brekkan,
Harmonia,
Erasure,
Popol Vuh,
Rahsaan Roland Kirk,
Eli Mardock,
K-Klass,
The Pretty Things,
Manfred Mann's Earth Band,
The Dave Clark Five,
Bootsy's Rubber Band,
Tears for Fears,
Trumans Water,
Grey Daturas,
Johnny Osbourne,
Young Marble Giants,
The American Breed,
Tomorrow,
Grauzone,
T. Rex,
Fela Kuti,
Tom Boy,
Fugazi,
Drexciya,
Nick Fraelich,
The Durutti Column,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.