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 Comoros 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 1973.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Funky Four + One to the grunge kids.
I played it at the Hacienda.
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 Underground Resistance. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Nico 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Minny Pops,
Rhythim Is Rhythim,
Fifty Foot Hose,
Aural Exciters,
Au Pairs,
Wire,
Bluetip,
Los Fastidios,
Jawbox,
Reagan Youth,
EPMD,
Eurythmics,
Althea and Donna,
the Soft Cell,
Scott Walker + Sunn O))),
Black Flag,
It's A Beautiful Day,
Soft Cell,
Warren Ellis,
Saccharine Trust,
Television Personalities,
Nik Kershaw,
Country Joe & The Fish,
Vladislav Delay,
Eyeless In Gaza,
A Flock of Seagulls,
Crash Course in Science,
These Immortal Souls,
Make Up,
Notorious BIG live in Amsterdam,
The Selecter,
Sarah Menescal,
Easy Going,
Don Cherry,
Cybotron,
This Heat,
Lonnie Liston Smith,
Albert Ayler,
Khruangbin,
Janne Schatter,
Niagra,
Banda Bassotti,
Leonard Cohen,
Marshall Jefferson,
Lower 48,
Jesper Dahlback,
The American Breed,
Ituana,
the Slits,
Morten Harket,
Warsaw,
Eden Ahbez,
Ralphi Rosario,
Sam Rivers,
Sun Ra,
Soul II Soul,
Ronan,
The Kinks,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.