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 Hungary and from Spokane.
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 1978.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Lyon 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 linndrum 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 Jeff Lynne to the funk kids.
I played it at the Hacienda.
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 Warren Ellis. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Johnny Clarke,
Girls At Our Best!,
Man Eating Sloth,
Bronski Beat,
Circle Jerks,
Judy Mowatt,
Procol Harum,
48th St. Collective,
Althea and Donna,
Piero Umiliani,
Ohio Players,
Minor Threat,
Mars,
Lou Reed & John Cale,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soulsonic Force,
Derrick May,
Anakelly,
Pharaoh Sanders and the Fire Engines,
U.S. Maple,
Steve Hackett,
Sarah Menescal,
Colin Newman,
The American Breed,
The Mummies,
Bobby Womack,
The Seeds,
Sam Rivers,
Ultravox,
Pole,
The Dave Clark Five,
Panda Bear,
Yusef Lateef,
Davy DMX,
Pierre Henry,
Wally Richardson,
Sixth Finger,
The Gladiators,
Lucky Dragons,
Joe Finger,
The Human League,
Sun City Girls,
X-Ray Spex,
Major Organ And The Adding Machine,
Faust,
Notorious BIG live in Amsterdam,
The Kinks,
Mission of Burma,
Thompson Twins,
Black Pus,
Isaac Hayes,
Joe Smooth,
Rufus Thomas,
London Community Gospel Choir,
Trumans Water,
the Germs,
Lindisfarne,
Alice Coltrane,
Dual Sessions,
Skriet,
Second Layer,
Cluster,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.