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 Georgia and from Houston.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Hong Kong 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Star Department to the grime 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 Derrick Morgan. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Black Sheep,
Cymande,
Barbara Tucker,
Symarip,
Oppenheimer Analysis,
Circle Jerks,
Alison Limerick,
Barclay James Harvest,
Bronski Beat,
Janne Schatter,
Brand Nubian,
Gastr Del Sol,
Pere Ubu,
Brass Construction,
B.T. Express,
David Axelrod,
Jesper Dahlbäck,
Quando Quango,
Kool G Rap & DJ Polo,
Scratch Acid,
Graham Central Station,
Thee Headcoats,
Ornette Coleman,
Q and Not U,
DeepChord presents Echospace,
Clear Light,
Eve St. Jones,
Deepchord,
Piero Umiliani,
Accadde A,
Television Personalities,
Country Teasers,
Shuggie Otis,
Nirvana,
Mantronix,
Joe Smooth,
Iggy Pop,
The Five Americans,
Harmonia,
The Mighty Diamonds,
Second Layer,
D'Angelo,
It's A Beautiful Day,
The Electric Prunes,
Johnny Osbourne,
the Fania All-Stars,
Pantytec,
Section 25,
Amazonics,
New York Dolls,
Can,
London Community Gospel Choir,
Grauzone,
Youth Brigade,
The Stooges,
The Red Krayola,
Sex Pistols,
Public Enemy,
Danielle Patucci,
De La Soul & Jungle Brothers,
Radiohead,
Make Up, Make Up, Make Up, Make Up.
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.