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 United States and from Portland.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Flipper to the dance kids.
I played it at the 40 Watt.
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 Sexual Harrassment. All the underground hits.
All Heavy D & The Boyz 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 punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Cabaret Voltaire,
Tres Demented,
Althea and Donna,
The Detroit Cobras,
Depeche Mode,
Franke,
Rod Modell,
Anthony Braxton,
the Slits,
Flamin' Groovies,
Sandy B,
Roy Ayers Ubiquity,
The Zeros,
Index,
Crispy Ambulance,
The Move,
Warren Ellis,
Soul Sonic Force,
Joy Division,
Pantaleimon,
Janne Schatter,
the Swans,
Gian Franco Pienzio,
The Kinks,
Magma,
The Five Americans,
Liliput,
PIL,
Sixth Finger,
Blossom Toes,
Stereo Dub,
Throbbing Gristle,
Crispian St. Peters,
cv313,
The Pop Group,
Hot Snakes,
The New Christs,
The Modern Lovers,
Major Organ And The Adding Machine,
The Chocolate Watch Band,
Black Sheep,
Lou Christie,
Curtis Mayfield,
Crime,
Shuggie Otis,
Public Image Ltd.,
The Golliwogs,
Aswad,
Schoolly D,
Whodini,
Das Ding,
Yaz,
Fela Kuti,
ABBA,
Japan,
Manfred Mann's Earth Band,
Ituana,
The Cure,
Sly & The Family Stone,
Arthur Verocai,
The Count Five, The Count Five, The Count Five, The Count Five.
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.