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 Argentina and from Edmonton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Interpol to the rap 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 Traffic Nightmare. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Crispian St. Peters,
Sparks,
Pagans,
Deepchord,
Grey Daturas,
Pulsallama,
Can,
Bronski Beat,
Shuggie Otis,
Red Lorry Yellow Lorry,
Dawn Penn,
Notorious BIG live in Amsterdam,
Kayak,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
Moebius,
The Saints,
Lee Hazlewood,
Public Enemy,
Suicide,
Rosa Yemen,
Colin Newman,
Eric Copeland,
Little Man,
The Fall,
The United States of America,
James Chance & The Contortions,
Crispy Ambulance,
Pierre Henry,
Main Source,
Visage,
Grauzone,
Byron Stingily,
The Doors,
The Five Americans,
The Real Kids,
Monolake,
The Motions,
Peter and Kerry,
The Move,
Sun Ra,
Sight & Sound,
Davy DMX,
Yazoo,
David McCallum,
Hot Snakes,
Josef K,
Captain Beefheart & His Magic Band,
Johnny Osbourne,
Roy Ayers Ubiquity,
ABC,
Deutsch Amerikanische Freundschaft,
Michelle Simonal,
Kings Of Tomorrow,
Alice Coltrane,
Lou Reed & Metallica,
The Leaves,
H. Thieme,
The Velvet Underground,
The Gun Club,
Black Moon, Black Moon, Black Moon, Black Moon.
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.