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 Honduras and from Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 electroclash 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 MDC. All the underground hits.
All Electric Prunes 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 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Danielle Patucci,
Sun Ra,
Magazine,
Echo & the Bunnymen,
Rakim,
Jeff Mills,
Bad Manners,
Half Japanese,
Dennis Brown,
Joensuu 1685,
Brand Nubian,
Audionom,
Arthur Verocai,
Soft Machine,
The Five Americans,
Connie Case,
Aural Exciters,
the Fania All-Stars,
Jeru the Damaja,
New York Dolls,
Mantronix,
The Divine Comedy,
Gichy Dan,
The West Coast Pop Art Experimental Band,
Delon & Dalcan,
The Searchers,
Bill Near,
Larry & the Blue Notes,
kango's stein massive,
Radiohead,
H. Thieme,
Lafayette Afro Rock Band,
The Detroit Cobras,
Shoche,
Popol Vuh,
Thee Headcoats,
MDC,
Ronnie Foster,
Wolf Eyes,
Colin Newman,
The Doors,
Robert Görl,
The Slackers,
Camouflage,
Sister Nancy,
David Axelrod,
D'Angelo,
Bobbi Humphrey,
The Dead C,
Thinking Fellers Union Local 282,
Sun Ra Arkestra,
Siouxsie and the Banshees,
The Sound,
The Fall,
Harry Pussy,
Gerry Rafferty,
The Royal Family And The Poor,
The Fugs,
Chris Corsano,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.