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 United States and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Edmonton 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator 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 Oneida to the techno 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 E-Dancer. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
H. Thieme,
Amon Düül,
Bang on a Can All-Stars,
Soft Cell,
Pantaleimon,
Absolute Body Control,
Peter Gordon & Love of Life Orchestra,
Vladislav Delay,
Jacques Brel,
Manfred Mann's Earth Band,
Erasure,
Scan 7,
Grauzone,
The New Christs,
The Fuzztones,
The Fugs,
Depeche Mode,
Pere Ubu,
Underground Resistance,
Sixth Finger,
Aswad,
Boz Scaggs,
Ralphi Rosario,
CMW,
Teenage Jesus and the Jerks,
Heavy D & The Boyz,
Marc Romboy vs. Booka Shade,
the Swans,
Peter & Gordon,
Bronski Beat,
Unwound,
Maurizio,
Pagans,
Dual Sessions,
X-Ray Spex,
X-101,
Deakin,
The West Coast Pop Art Experimental Band,
Mr. Review,
Minnie Riperton,
Scion,
David Bowie,
Ash Ra Tempel,
Fifty Foot Hose,
The Tremeloes,
the Germs,
The Misunderstood,
The Music Machine,
Electric Prunes,
the Bar-Kays,
Terrestrial Tones,
Rapeman,
Circle Jerks,
Radio Birdman,
Isaac Hayes,
Youth Brigade,
The Blackbyrds,
Loose Ends,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.