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 Netherlands 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 1968 to 1975.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 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 Bobby Byrd to the funk kids.
I played it at CBGB's.
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 Main Source. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Minutemen 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Max Romeo,
Aaron Thompson,
Dual Sessions,
Country Teasers,
Echospace,
Anthony Braxton,
Rapeman,
Masters at Work,
The Motions,
Ajijia Myrayebe,
Warren Ellis,
Joy Division,
Lonnie Liston Smith,
Rekid,
Pharoah Sanders,
Reuben Wilson,
Average White Band,
Rakim,
K-Klass,
Notorious Big And Bone Thugs,
Drexciya,
Ash Ra Tempel,
Quadrant,
Rahsaan Roland Kirk,
China Crisis,
Ten City,
Radiopuhelimet,
Slick Rick,
The Durutti Column,
ABBA,
Joe Finger,
Deadbeat,
Buzzcocks,
Leonard Cohen,
Patti Smith,
The Neon Judgement,
Bush Tetras,
The Modern Lovers,
The Zeros,
Babytalk,
John Holt,
Soft Cell,
Soulsonic Force,
Archie Shepp,
Ronnie Foster,
Bobbi Humphrey,
Dark Day,
Robert Wyatt,
Country Joe & The Fish,
The Doobie Brothers,
Art Ensemble Of Chicago,
Crispy Ambulance,
Steve Hackett,
Althea and Donna,
The Offenders,
Audionom,
The Monks,
10cc,
Agitation Free,
Manfred Mann's Earth Band,
Pantaleimon,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.