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 Burkina and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Houston 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 sitar 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 Drexciya to the punk 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 L. Decosne. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal punk 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 a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Toasters,
Kevin Saunderson,
Das Ding,
Public Image Ltd.,
Frankie Knuckles,
Unwound,
Cabaret Voltaire,
F. McDonald,
Rekid,
Bill Wells,
Maurizio,
David Axelrod,
Crash Course in Science,
Bill Near,
DJ Style,
Aswad,
Red Lorry Yellow Lorry,
The Red Krayola,
Cybotron,
Blake Baxter,
Connie Case,
Silicon Teens,
Peter Gordon & Love of Life Orchestra,
Nick Cave & The Bad Seeds,
Pantaleimon,
The Cramps,
Kayak,
One Last Wish,
Barrington Levy,
Matthew Bourne,
Nils Olav,
Pet Shop Boys,
Donny Hathaway,
Davy DMX,
Rhythim Is Rhythim,
Dual Sessions,
Danielle Patucci,
Glenn Branca,
Röyhkä ja Rättö ja Lehtisalo,
the Slits,
Jesper Dahlbäck,
X-Ray Spex,
Althea and Donna,
Bobby Sherman,
Scrapy,
The Royal Family And The Poor,
Sex Pistols,
These Immortal Souls,
Lou Christie,
Metal Thangz,
Ludus,
The Associates,
Traffic Nightmare,
Black Pus,
Groovy Waters,
Hoover,
Lonnie Liston Smith,
Barclay James Harvest,
Robert Hood,
Severed Heads,
Little Man,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.