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 Iceland and from Tehran.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Calgary 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Soul II Soul to the grunge 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 The Monks. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Deakin,
Darondo,
Wasted Youth,
De La Soul & Jungle Brothers,
Matthew Bourne,
Suicide,
Slave,
The Walker Brothers,
Malaria!,
Matthew Halsall,
Girls At Our Best!,
Althea and Donna,
Easy Going,
Television,
Joey Negro,
Marshall Jefferson,
Vainqueur,
Vladislav Delay,
Joe Finger,
Marcia Griffiths,
Brothers Johnson,
Outsiders,
Tubeway Army,
Jeff Mills,
The Count Five,
Lizzy Mercier Descloux,
Black Moon,
Ultra Naté,
Morten Harket,
Scientists,
The Motions,
Electric Light Orchestra,
48th St. Collective,
Black Flag,
Porter Ricks,
One Last Wish,
Strawberry Alarm Clock,
Subhumans,
Supertramp,
Lafayette Afro Rock Band,
D'Angelo,
Interpol,
Crispian St. Peters,
The Red Krayola,
A Flock of Seagulls,
Aswad,
Bill Wells,
Sex Pistols,
Ronnie Foster,
The Fugs,
the Swans,
H. Thieme,
Amon Düül II,
Cameo,
The Velvet Underground,
DNA,
The Mojo Men,
Sugar Minott,
Scott Walker + Sunn O))),
Index, Index, Index, Index.
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.