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 Brazil and from New York.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 The West Coast Pop Art Experimental Band 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 Toni Rubio. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Morten Harket 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Masters at Work,
The United States of America,
Symarip,
Bobby Womack,
Faust,
K-Klass,
Jacques Brel,
Byron Stingily,
The Saints,
Loose Ends,
The Leaves,
The Durutti Column,
Tomorrow,
Ornette Coleman,
Laurel Aitken,
Ohio Players,
Pantytec,
Japan,
Smog,
X-102,
The Wake,
The Misunderstood,
Chrome,
Cabaret Voltaire,
DeepChord presents Echospace,
Scott Walker + Sunn O))),
Skaos,
Jeff Mills,
The West Coast Pop Art Experimental Band,
Q and Not U,
Delta 5,
Rhythm & Sound,
Pierre Henry,
Major Organ And The Adding Machine,
Quando Quango,
Slick Rick,
London Community Gospel Choir,
Vainqueur,
The Toasters,
Faraquet,
Qualms,
Crime,
Bang on a Can All-Stars,
Das Ding,
Rekid,
Gang Green,
This Heat,
Roxy Music,
48th St. Collective,
Dawn Penn,
Joensuu 1685,
Sparks,
Leonard Cohen,
EPMD,
Marine Girls,
Wasted Youth,
Boogie Down Productions,
David Axelrod,
Josef K,
Franke,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.