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 Houston.
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 1968 to 1971.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school New York 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 Tom Verlaine 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 Interpol to the grime kids.
I played it at the 40 Watt.
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 Cecil Taylor. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Sällskapet 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Rowland S Howard / Lydia Lunch,
Radiopuhelimet,
Soul Sonic Force,
The Blackbyrds,
Donald Byrd,
Gil Scott-Heron and Jamie xx,
Intrusion,
UT,
Rapeman,
The Slits,
Cheater Slicks,
Ken Boothe,
Deadbeat,
Vainqueur,
Ash Ra Tempel,
The Wake,
Moby Grape,
The Happenings,
La Düsseldorf,
Public Enemy,
Alison Limerick,
Juan Atkins,
Flipper,
Byron Stingily,
The Residents,
Thee Headcoats,
Monolake,
Grandmaster Flash,
Brick,
Soul II Soul,
Marshall Jefferson,
Hashim,
Pantaleimon,
The Dirtbombs,
Carl Craig,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
Kerri Chandler,
Susan Cadogan,
David Axelrod,
Pole,
Joey Negro,
Chris Corsano,
A Flock of Seagulls,
Adolescents,
Barrington Levy,
Aaron Thompson,
Mantronix,
New Order,
The Fuzztones,
Rosa Yemen,
the Association,
Das Ding,
Symarip,
Dual Sessions,
Porter Ricks,
Lucky Dragons,
Idris Muhammad,
The Five Americans,
Negative Approach,
Wasted Youth,
Youth Brigade,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.