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 Bolivia and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Columbus 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 PIL to the disco kids.
I played it at the Spitz.
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 Moby Grape. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Cybotron 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 '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Robert Wyatt,
Albert Ayler,
Ponytail,
The Moleskins,
Todd Terry,
kango's stein massive,
Lebanon Hanover,
Circle Jerks,
Gil Scott Heron,
Ultra Naté,
Underground Resistance,
OOIOO,
MDC,
EPMD,
Stetsasonic,
Kings Of Tomorrow,
Camouflage,
Crash Course in Science,
The Techniques,
The Music Machine,
Ludus,
Pole,
Eurythmics,
Sex Pistols,
Super Lover Cee & Casanova Rud,
Vladislav Delay,
Vainqueur,
Alton Ellis,
Kerri Chandler,
Soft Machine,
Dual Sessions,
Angry Samoans,
Black Bananas,
Avey Tare,
a-ha,
Sly & The Family Stone,
Nils Olav,
Model 500,
Guru Guru,
Bobby Sherman,
London Community Gospel Choir,
Monks,
Kerrie Biddell,
the Slits,
Echospace,
Glenn Branca,
The Last Poets,
Judy Mowatt,
China Crisis,
Parry Music,
Gregory Isaacs,
F. McDonald,
Flamin' Groovies,
The Happenings,
Gil Scott-Heron & Brian Jackson,
In Retrospect,
Notorious BIG live in Amsterdam,
Suicide,
Roxette,
Animal Collective,
Qualms,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.