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 Afghanistan and from Houston.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Cameo to the electroclash kids.
I played it at the Astoria.
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 Jimmy McGriff. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Eurythmics,
Flamin' Groovies,
Sam Rivers,
Byron Stingily,
Rhythim Is Rhythim,
Reagan Youth,
Joensuu 1685,
Ultravox,
Tom Boy,
Theoretical Girls,
Pharoah Sanders,
The West Coast Pop Art Experimental Band,
Manfred Mann's Earth Band,
Peter Gordon & Love of Life Orchestra,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Rahsaan Roland Kirk,
Ituana,
Laurel Aitken,
Charles Mingus,
Black Pus,
Gabor Szabo,
Gil Scott-Heron and Jamie xx,
Minor Threat,
Porter Ricks,
The Martian,
Swell Maps,
New Order,
Unwound,
Popol Vuh,
Richard Hell and the Voidoids,
Chrome,
Ludus,
Hasil Adkins,
Thinking Fellers Union Local 282,
Henry Cow,
The Five Americans,
Donald Byrd,
Public Enemy,
Lee Hazlewood,
The Angels of Light,
The Dead C,
Lonnie Liston Smith,
Wire,
Selector Dub Narcotic,
Juan Atkins,
Flipper,
Blossom Toes,
Vladislav Delay,
The Index,
cv313,
It's A Beautiful Day,
The Human League,
Anthony Braxton,
X-Ray Spex,
Jeru the Damaja,
Delta 5,
Jacob Miller,
Dead Boys,
Eric B and Rakim,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.