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 Macedonia and from Cairo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 John Holt to the electroclash 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 Alison Limerick. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Interpol,
Gang Gang Dance,
Ice-T,
Kenny Larkin,
The Names,
The Fugs,
Subhumans,
Royal Trux,
Ornette Coleman,
Fifty Foot Hose,
Robert Wyatt,
Throbbing Gristle,
Jandek,
Animal Collective,
Moss Icon,
Cluster,
The Offenders,
The Grass Roots,
Sparks,
Surgeon,
Neil Young & Crazy Horse,
Icehouse,
Spandau Ballet,
Faust,
The Smiths,
Brand Nubian,
Richard Hell and the Voidoids,
Parry Music,
Pere Ubu,
Depeche Mode,
Wolf Eyes,
DJ Sneak,
Cabaret Voltaire,
The Associates,
The Human League,
kango's stein massive,
Kaleidoscope,
Quando Quango,
Major Organ And The Adding Machine,
The Toasters,
Gerry Rafferty,
Juan Atkins,
Grauzone,
Skarface,
Orchestral Manoeuvres in the Dark,
Flipper,
Ralphi Rosario,
Gong,
Bobby Sherman,
Tom Boy,
Unrelated Segments,
Bang on a Can All-Stars,
Thompson Twins,
The Shadows of Knight,
Kauko Röyhkä ja Narttu,
Aural Exciters,
Magazine,
The Birthday Party,
Terror Squad Feat. Camron,
The Moody Blues,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.