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 Yemen and from London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Beijing 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 The Fall to the punk kids.
I played it at Trash.
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 Gang Starr. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Schoolly D,
the Germs,
Pharaoh Sanders and the Fire Engines,
The Offenders,
the Fania All-Stars,
David Bowie,
Joyce Sims,
Urselle,
Parry Music,
Sexual Harrassment,
Liliput,
Sarah Menescal,
The Dirtbombs,
The Chocolate Watch Band,
Barclay James Harvest,
Teenage Jesus and the Jerks,
The Names,
kango's stein massive,
Whodini,
the Normal,
Gang of Four,
Scott Walker,
The Cowsills,
The Move,
Animal Collective,
China Crisis,
Peter and Kerry,
Buzzcocks,
Ken Boothe,
Index,
Gregory Isaacs,
Mandrill,
The Slits,
Tropical Tobacco,
Charles Mingus,
The Alarm Clocks,
Richard Hell and the Voidoids,
This Heat,
Eurythmics,
Kings Of Tomorrow,
Nick Fraelich,
Terror Squad Feat. Camron,
Minor Threat,
Pulsallama,
Isaac Hayes,
Moss Icon,
Ornette Coleman,
CMW,
48th St. Collective,
The Young Rascals,
Eve St. Jones,
Bobby Sherman,
Kango’s Stein Massive,
Jacques Brel,
Darondo,
The Gories,
Deutsch Amerikanische Freundschaft,
Matthew Halsall,
Icehouse,
Davy DMX,
Ponytail,
The Barracudas,
Joy Division, Joy Division, Joy Division, Joy Division.
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.