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 Kosovo and from Manchester.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Copenhagen 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 DeepChord presents Echospace to the dance 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 Banda Bassotti. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Freddie Wadling 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo 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?
B.T. Express,
Glenn Branca,
Country Joe & The Fish,
Angels of Light & Akron/Family,
The Alarm Clocks,
Joy Division,
Blancmange,
Charles Mingus,
Shuggie Otis,
ABBA,
Jesper Dahlbäck,
Nirvana,
Sound Behaviour,
Unrelated Segments,
Derrick May,
Livin' Joy,
Stiv Bators,
Ituana,
Howard Jones,
Boz Scaggs,
The Saints,
Little Man,
Grauzone,
The Smoke,
The Detroit Cobras,
Jesper Dahlback,
JFA,
Wally Richardson,
Suburban Knight,
Arthur Verocai,
Fluxion,
Urselle,
Robert Wyatt,
Aswad,
Ice-T,
CMW,
Scrapy,
The Dave Clark Five,
Basic Channel,
Roger Hodgson,
Guru Guru,
John Lydon,
Henry Cow,
Visage,
Tubeway Army,
AZ,
Max Romeo,
Vladislav Delay,
Dual Sessions,
Fear,
Barrington Levy,
Black Bananas,
The Stooges,
Juan Atkins,
Crispy Ambulance,
Bobby Sherman,
Gang Starr,
Donny Hathaway,
The Martian,
Pantaleimon,
Faraquet,
Super Lover Cee & Casanova Rud,
The Selecter,
The Pop Group,
Rekid, Rekid, Rekid, Rekid.
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.