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 Spain and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Beijing 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 oboe 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 Prince Buster to the crunk kids.
I played it at the Spitz.
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 Manfred Mann's Earth Band. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Black Flag 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Ossler,
Bobby Sherman,
Stockholm Monsters,
Spandau Ballet,
The Saints,
Swell Maps,
Stiv Bators,
Interpol,
Don Cherry,
the Swans,
Stetsasonic,
Notorious BIG live in Amsterdam,
Neil Young,
The Barracudas,
Thompson Twins,
Q and Not U,
Pussy Galore,
Babytalk,
The Gories,
Connie Case,
Fela Kuti,
The Busters,
Juan Atkins,
L. Decosne,
Richard Hell and the Voidoids,
Hardrive,
Selector Dub Narcotic,
Agitation Free,
X-101,
Anthony Braxton,
Bang On A Can,
Siouxsie and the Banshees,
Alison Limerick,
Dennis Brown,
Orchestral Manoeuvres in the Dark,
Jesper Dahlbäck,
Pere Ubu,
Scratch Acid,
Porter Ricks,
Section 25,
KRS-One,
The Young Rascals,
The Last Poets,
Malaria!,
Roger Hodgson,
the Normal,
Black Flag,
Lebanon Hanover,
The Beau Brummels,
DNA,
Slave,
Tim Buckley,
X-Ray Spex,
The Associates,
Joey Negro,
The Selecter,
Unrelated Segments,
Barclay James Harvest,
The West Coast Pop Art Experimental Band,
Man Parrish,
Gichy Dan,
Accadde A, Accadde A, Accadde A, Accadde A.
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.