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 Burkina and from Philadelphia.
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 1961 to 1976.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Calgary 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 clarinet 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 The Beau Brummels to the electroclash 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 Jesper Dahlback. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Alice Coltrane,
Lalann,
The Gun Club,
Nick Fraelich,
Index,
Larry & the Blue Notes,
Clear Light,
Joey Negro,
Wings,
DeepChord presents Echospace,
the Association,
Dual Sessions,
Grauzone,
Intrusion,
Icehouse,
Byron Stingily,
Frankie Knuckles,
Tres Demented,
Fifty Foot Hose,
Angels of Light & Akron/Family,
Trumans Water,
Cabaret Voltaire,
Reuben Wilson,
Underground Resistance,
The Index,
Unwound,
Magma,
Roy Ayers Ubiquity,
Blancmange,
The Slackers,
Crooked Eye,
Teenage Jesus and the Jerks,
Soulsonic Force,
Rekid,
The Victims,
Barclay James Harvest,
Youth Brigade,
Public Enemy,
Slave,
Buzzcocks,
Flash Fearless,
CMW,
H. Thieme,
Sunsets and Hearts,
Negative Approach,
China Crisis,
Jacques Brel,
Fluxion,
Cluster,
Lee Hazlewood,
Rhythm & Sound,
The Names,
Scott Walker,
The Fall,
Black Bananas,
UT,
London Community Gospel Choir,
Camberwell Now,
JFA,
Gary Puckett & The Union Gap,
Crime,
David Axelrod,
The Remains, The Remains, The Remains, The Remains.
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.