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 Angola and from Mumbai.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Portland and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Massinfluence to the dance 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Motorama,
Smog,
Joensuu 1685,
Dual Sessions,
Harry Pussy,
Zero Boys,
Bluetip,
Babytalk,
Althea and Donna,
Judy Mowatt,
Accadde A,
Hasil Adkins,
Grandmaster Flash,
Chris & Cosey,
Visage,
The United States of America,
Lyres,
Electric Light Orchestra,
Thee Headcoats,
Amon Düül II,
Essential Logic,
Jandek,
Eli Mardock,
Kaleidoscope,
World's Most,
Bobby Womack,
Pagans,
Barrington Levy,
Sam Rivers,
Procol Harum,
Todd Terry,
Harmonia,
Lou Reed,
A Certain Ratio,
U.S. Maple,
Technova,
Altered Images,
Franke,
John Coltrane,
The Pretty Things,
Absolute Body Control,
OOIOO,
The Moody Blues,
The Black Dice,
Oppenheimer Analysis,
Slick Rick,
The Cosmic Jokers,
Parry Music,
Pet Shop Boys,
Gang of Four,
Eden Ahbez,
Crispian St. Peters,
Jacques Brel,
Spandau Ballet,
Bobby Sherman,
EPMD,
Half Japanese,
Aloha Tigers,
Sarah Menescal,
Alice Coltrane,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.