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 Malaysia and from Calgary.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Paris 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 808 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 Vaughan Mason & Crew to the rap kids.
I played it at the Spitz.
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 Gian Franco Pienzio. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Peter and Kerry 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Super Lover Cee & Casanova Rud,
Mandrill,
K-Klass,
Vainqueur,
Pole,
the Slits,
Accadde A,
Dave Gahan,
The American Breed,
Agitation Free,
X-Ray Spex,
The Happenings,
Colin Newman,
Tom Boy,
Pharaoh Sanders and the Fire Engines,
Sparks,
Brass Construction,
Amon Düül,
Excepter,
The Fortunes,
The Toasters,
Liliput,
In Retrospect,
Ultimate Spinach,
Mars,
Gabor Szabo,
The Victims,
Andrew Ashong & Theo Parrish,
Soft Cell,
Rapeman,
Dark Day,
Joensuu 1685,
Lou Reed,
Tomorrow,
Make Up,
Heaven 17,
Beasts of Bourbon,
Minnie Riperton,
Kerrie Biddell,
Bush Tetras,
One Last Wish,
Johnny Osbourne,
The Dead C,
kango's stein massive,
The Pretty Things,
Lonnie Liston Smith,
Zero Boys,
Brick,
AZ,
8 Eyed Spy,
Loose Ends,
Rufus Thomas,
The Dave Clark Five,
Matthew Halsall,
the Bar-Kays,
Selector Dub Narcotic,
The Remains,
Magazine,
The West Coast Pop Art Experimental Band,
Swans,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.