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 Ireland and from Hong Kong.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Beijing 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 arpeggiator 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 The Fall to the crunk 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 The Busters. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Moebius 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
H. Thieme,
Unrelated Segments,
Cal Tjader,
Masters at Work,
Ponytail,
Lou Reed & Metallica,
The Evens,
Steve Hackett,
Byron Stingily,
Sunsets and Hearts,
Henry Cow,
Gong,
Judy Mowatt,
World's Most,
Lalann,
Kings Of Tomorrow,
Faust,
Selector Dub Narcotic,
Camberwell Now,
The Monochrome Set,
Ornette Coleman,
Mary Jane Girls,
Robert Hood,
Scott Walker,
Thinking Fellers Union Local 282,
Pharoah Sanders,
the Swans,
The Mighty Diamonds,
Lower 48,
Soft Cell,
Gang of Four,
The Skatalites,
Visage,
Nik Kershaw,
Fat Boys,
Boz Scaggs,
Oneida,
Sly & The Family Stone,
Roy Ayers Ubiquity,
Quadrant,
Swans,
The Fugs,
8 Eyed Spy,
Gian Franco Pienzio,
Anthony Braxton,
Oppenheimer Analysis,
Joensuu 1685,
Arthur Verocai,
Deakin,
Al Stewart,
Bizarre Inc.,
The Five Americans,
Flash Fearless,
Deadbeat,
Bill Wells,
Eddi Front,
Khruangbin,
The Mojo Men,
Hashim,
Mantronix,
Whodini,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.