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 Kiribati and from London.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Franke to the crunk 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 Pere Ubu. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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,
Quando Quango,
Idris Muhammad,
The Young Rascals,
Radiohead,
Rod Modell,
Pole,
Traffic Nightmare,
The Sonics,
the Association,
The Fuzztones,
Davy DMX,
Rites of Spring,
Nils Olav,
Stetsasonic,
Pantaleimon,
The Index,
Monks,
John Holt,
Selector Dub Narcotic,
Eli Mardock,
Patti Smith,
Sound Behaviour,
Pantytec,
Audionom,
Matthew Halsall,
Drive Like Jehu,
Red Lorry Yellow Lorry,
the Fania All-Stars,
X-101,
The West Coast Pop Art Experimental Band,
Radio Birdman,
Sad Lovers and Giants,
Dawn Penn,
The Victims,
Pylon,
The Electric Prunes,
The Busters,
The Invisible,
Theoretical Girls,
Alphaville,
Bootsy's Rubber Band,
Vaughan Mason & Crew,
Ten City,
Subhumans,
The Detroit Cobras,
Isaac Hayes,
DNA,
Slave,
Super Lover Cee & Casanova Rud,
Little Man,
Sonic Youth,
The Litter,
Vainqueur,
Siglo XX,
H. Thieme,
Gong,
10cc,
Marmalade,
Nirvana,
Henry Cow,
David McCallum,
Sällskapet,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.