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 Tunisia and from Delhi.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when David Bowie 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 The Young Rascals to the disco 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 Spoonie Gee. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Erasure,
Kurtis Blow,
Peter & Gordon,
Dorothy Ashby,
Mad Mike,
Danielle Patucci,
Godley & Creme,
The Black Dice,
Cecil Taylor,
Brand Nubian,
Audionom,
The Mojo Men,
Gil Scott-Heron and Jamie xx,
Scott Walker,
Technova,
The Happenings,
Aloha Tigers,
Nico,
Jeff Mills,
Subhumans,
Grauzone,
The Monks,
Loose Ends,
B.T. Express,
Terrestrial Tones,
Charles Mingus,
Alice Coltrane,
The Neon Judgement,
Rites of Spring,
Bauhaus,
X-Ray Spex,
The Slackers,
Electric Prunes,
Model 500,
Ituana,
Quando Quango,
Amon Düül,
Public Enemy,
Gil Scott Heron,
Moss Icon,
Gang of Four,
Radiopuhelimet,
Pet Shop Boys,
Khruangbin,
Colin Newman,
Icehouse,
Selector Dub Narcotic,
Banda Bassotti,
The West Coast Pop Art Experimental Band,
Public Image Ltd.,
Rowland S Howard / Lydia Lunch,
John Lydon,
A Flock of Seagulls,
Harpers Bizarre,
EPMD,
Jerry's Kids,
Wasted Youth,
Bad Manners,
Avey Tare's Slasher Flicks,
Brick,
The Cramps,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.