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 Yemen and from Seoul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Copenhagen 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 clarinet 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 Yellowson to the dance kids.
I played it at Trash.
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 Minutemen. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Nils Olav,
Avey Tare & Kría Brekkan,
Main Source,
Eyeless In Gaza,
The American Breed,
cv313,
John Holt,
Soft Machine,
World's Most,
Al Stewart,
The Music Machine,
The Leaves,
Desert Stars,
Joy Division,
Sly & The Family Stone,
Boz Scaggs,
Lightning Bolt,
Letta Mbulu,
The Cosmic Jokers,
Clear Light,
Grauzone,
The Real Kids,
Goldenarms,
London Community Gospel Choir,
The Doors,
Crispy Ambulance,
Avey Tare,
Black Pus,
Lonnie Liston Smith,
Organ,
The Mummies,
Lucky Dragons,
The Moleskins,
Skarface,
The Detroit Cobras,
Peter and Kerry,
The Walker Brothers,
Oppenheimer Analysis,
The Velvet Underground,
Kurtis Blow,
Michelle Simonal,
Ash Ra Tempel,
Mary Jane Girls,
The Electric Prunes,
R.M.O.,
KRS-One,
T. Rex,
The Happenings,
Rekid,
Leonard Cohen,
The Dead C,
Oneida,
Jimmy McGriff,
Lou Christie,
Matthew Bourne,
Vaughan Mason & Crew,
Gian Franco Pienzio,
Röyhkä ja Rättö ja Lehtisalo,
Teenage Jesus and the Jerks,
Mandrill,
Unrelated Segments,
UT,
Simply Red, Simply Red, Simply Red, Simply Red.
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.