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 Liechtenstein and from Bremen.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Tehran 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 organ 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 Grandmaster Flash and the Furious Five to the jazz kids.
I played it at the Roxy.
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 The Moody Blues. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Scott Walker + Sunn O))),
Subhumans,
Hoover,
Model 500,
Lakeside,
Procol Harum,
Tres Demented,
Gian Franco Pienzio,
Darondo,
Gary Puckett & The Union Gap,
Agitation Free,
Black Moon,
These Immortal Souls,
James White and The Blacks,
Sun Ra,
Tommy Roe,
Icehouse,
Thinking Fellers Union Local 282,
Lalann,
Ornette Coleman,
Cabaret Voltaire,
Reuben Wilson,
Marshall Jefferson,
Alice Coltrane,
Kool Moe Dee,
Pulsallama,
cv313,
Depeche Mode,
The Five Americans,
A Certain Ratio,
Anakelly,
Wire,
JFA,
Boredoms,
John Foxx,
the Fania All-Stars,
Fear,
Brothers Johnson,
Sound Behaviour,
The Shadows of Knight,
Robert Hood,
Lucky Dragons,
the Association,
Hardrive,
Ten City,
Rakim,
the Soft Cell,
The Tremeloes,
Oblivians,
The Cramps,
The Mummies,
Fad Gadget,
Jacob Miller,
Soul II Soul,
Bobby Womack,
The Stooges,
Heavy D & The Boyz,
Sam Rivers,
The Gap Band,
Sarah Menescal,
Das Ding,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.