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 Liberia and from Woodstock.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Big Daddy Kane to the rock 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 Deadbeat. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every World's Most 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Sun City Girls,
Super Lover Cee & Casanova Rud,
Brand Nubian,
Newcleus,
H. Thieme,
Kool G Rap & DJ Polo,
X-101,
Banda Bassotti,
Neu!,
Ludus,
Gil Scott Heron,
kango's stein massive,
The Divine Comedy,
Black Flag,
Barbara Tucker,
Swans,
Nick Cave & The Bad Seeds,
The Evens,
The Gun Club,
Blossom Toes,
Sun Ra Arkestra,
Nico,
Kauko Röyhkä ja Narttu,
Skarface,
Mission of Burma,
Rapeman,
Minnie Riperton,
Warren Ellis,
Tomorrow,
The Moleskins,
Buzzcocks,
Brass Construction,
New York Dolls,
Glenn Branca,
The Standells,
Maleditus Sound,
Delon & Dalcan,
James Chance & The Contortions,
Half Japanese,
The Black Dice,
Dawn Penn,
Thompson Twins,
The Shadows of Knight,
Soulsonic Force,
MC5,
Tommy Roe,
Rhythm & Sound,
New Order,
Boz Scaggs,
Sad Lovers and Giants,
Piero Umiliani,
The Dirtbombs,
The Men They Couldn't Hang,
Frankie Knuckles,
The Associates,
Black Moon,
Slick Rick,
Sister Nancy,
The Fuzztones,
Bad Manners,
David Axelrod,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.