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 Turkey and from Salvador.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Manila 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the oboe 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 Godley & Creme to the techno kids.
I played it at the Roxy.
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 Franke. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Unwound 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?
Echospace,
Stereo Dub,
The Cowsills,
Sparks,
Cymande,
Minnie Riperton,
Moebius,
Can,
Pere Ubu,
Pantaleimon,
Arab on Radar,
Black Pus,
UT,
F. McDonald,
Boz Scaggs,
Deadbeat,
The Toasters,
Icehouse,
The Jesus and Mary Chain,
Pagans,
EPMD,
The Pretty Things,
Joe Smooth,
Crispy Ambulance,
Red Lorry Yellow Lorry,
Kevin Saunderson,
Robert Wyatt,
The Moody Blues,
Jawbox,
Aloha Tigers,
The Fortunes,
The Detroit Cobras,
Josef K,
Man Eating Sloth,
Aaron Thompson,
The Golliwogs,
Magazine,
Fatback Band,
Unrelated Segments,
The Evens,
FM Einheit,
Major Organ And The Adding Machine,
Los Fastidios,
The Neon Judgement,
Lou Reed & Metallica,
Porter Ricks,
Newcleus,
Jandek,
Big Daddy Kane,
Todd Rundgren,
Hasil Adkins,
Yazoo,
Basic Channel,
MC5,
Minutemen,
Pulsallama,
Manfred Mann's Earth Band,
D'Angelo,
DJ Sneak,
The Grass Roots,
Cameo,
Lungfish,
Camouflage,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.