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 Australia and from Edmonton.
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 Jakarta and Houston.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 Jawbox to the techno kids.
I played it at the 40 Watt.
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 U.S. Maple. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Goldenarms 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
London Community Gospel Choir,
Glenn Branca,
The Dirtbombs,
Kango’s Stein Massive,
Crispy Ambulance,
The Peanut Butter Conspiracy,
Radio Birdman,
Ultra Naté,
Louis and Bebe Barron,
Bobby Hutcherson,
Roy Ayers Ubiquity,
Yellowson,
The Detroit Cobras,
Vainqueur,
Boredoms,
Mary Jane Girls,
Kerrie Biddell,
Duran Duran,
Jeru the Damaja,
The Count Five,
Essential Logic,
Technova,
Deakin,
Siouxsie and the Banshees,
The Chocolate Watch Band,
Joey Negro,
The Neon Judgement,
Marc Almond,
Japan,
Soul Sonic Force,
Laurel Aitken,
Sexual Harrassment,
Nick Cave & The Bad Seeds,
a-ha,
T.S.O.L.,
Aural Exciters,
D'Angelo,
The Angels of Light,
Kerri Chandler,
The Vogues,
Cecil Taylor,
Mr. Review,
The Evens,
John Cale,
Lyres,
Bang On A Can,
Avey Tare,
Fifty Foot Hose,
Siglo XX,
Public Enemy,
Radiopuhelimet,
Faust,
June of 44,
Scion,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
Mission of Burma,
Danielle Patucci,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wings,
Rapeman, Rapeman, Rapeman, Rapeman.
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.