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 Spain and from Copenhagen.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Lille 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 rhodes 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 The Walker Brothers to the grime kids.
I played it at the Troubador.
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 Bootsy Collins. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Joe Finger,
Richard Hell and the Voidoids,
Rotary Connection,
Minnie Riperton,
E-Dancer,
The Count Five,
Justin Hinds & The Dominoes,
The Human League,
The Sonics,
Television,
The Invisible,
Eve St. Jones,
Lower 48,
Judy Mowatt,
Dr. Dre and Snoop Doggy Dog,
kango's stein massive,
Siglo XX,
The Monochrome Set,
The Knickerbockers,
Frankie Knuckles,
Fear,
Youth Brigade,
Lebanon Hanover,
Marc Almond,
Cecil Taylor,
Derrick Morgan,
The Mighty Diamonds,
Marine Girls,
the Sonics,
Sarah Menescal,
The Cramps,
Hoover,
This Heat,
Ajijia Myrayebe,
Sun City Girls,
Blossom Toes,
Bang on a Can All-Stars,
Hashim,
Nas,
Larry & the Blue Notes,
Gang Gang Dance,
Cal Tjader,
Theoretical Girls,
James White and The Blacks,
Niagra,
A Flock of Seagulls,
Camron Feat. Jay Z And Juelz,
Lungfish,
Delon & Dalcan,
DNA,
Henry Cow,
The Vogues,
The Angels of Light,
Minny Pops,
Peter & Gordon,
These Immortal Souls,
Skaos,
Sly & The Family Stone,
Funkadelic,
Warren Ellis,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.