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 Ecuador and from Jakarta.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Tokyo 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 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 Kaleidoscope to the punk 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 Camberwell Now. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Notorious BIG live in Amsterdam,
Deepchord,
Pet Shop Boys,
Blancmange,
Pole,
8 Eyed Spy,
Metal Thangz,
The Black Dice,
Skriet,
Ludus,
Absolute Body Control,
The Neon Judgement,
Accadde A,
Henry Cow,
New Age Steppers,
Siglo XX,
China Crisis,
The Gap Band,
Wighnomy Brothers & Robag Wruhme,
Bauhaus,
Wire,
Cluster,
Hasil Adkins,
The Dead C,
John Lydon,
Porter Ricks,
Interpol,
Isaac Hayes,
Donny Hathaway,
Siouxsie and the Banshees,
Jandek,
Smog,
Gastr Del Sol,
Manfred Mann's Earth Band,
Frankie Knuckles,
N.O.R.E. Featuring Pharrell,
Barry Ungar,
The Remains,
Major Organ And The Adding Machine,
Aaron Thompson,
Kenny Larkin,
The Fugs,
The Sonics,
Tommy Roe,
Public Enemy,
Talk Talk,
Nirvana,
Lou Christie,
Basic Channel,
Circle Jerks,
The Electric Prunes,
Tomorrow,
JFA,
The Slits,
Ohio Players,
Swell Maps,
Index,
Kings Of Tomorrow,
Subhumans,
Angry Samoans,
48th St. Collective,
The Residents,
the Germs, the Germs, the Germs, the Germs.
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.