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 Paraguay and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Charles Mingus to the grime 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 The Fire Engines. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Hot Snakes,
Liaisons Dangereuses,
Negative Approach,
The Kinks,
Ultramagnetic MC's,
David Axelrod,
Kango’s Stein Massive,
De La Soul & Jungle Brothers,
Neil Young,
B.T. Express,
Gil Scott Heron,
Soulsonic Force,
Oblivians,
Echo & the Bunnymen,
D'Angelo,
Lee Hazlewood,
Sound Behaviour,
Bobbi Humphrey,
Eve St. Jones,
Bootsy's Rubber Band,
Beasts of Bourbon,
the Sonics,
Nik Kershaw,
Oppenheimer Analysis,
The Cure,
Country Joe & The Fish,
Donny Hathaway,
Selector Dub Narcotic,
Gian Franco Pienzio,
Brothers Johnson,
Soul II Soul,
Bobby Sherman,
Alton Ellis,
Kool G Rap & DJ Polo,
Whodini,
The Offenders,
Rhythim Is Rhythim,
The Move,
Joyce Sims,
Warren Ellis,
Rakim,
The Evens,
Main Source,
Supertramp,
Gang of Four,
Juan Atkins,
The Young Rascals,
Robert Wyatt,
Isaac Hayes,
Cal Tjader,
Chris & Cosey,
Sly & The Family Stone,
Marmalade,
Gong,
The Smoke,
Joey Negro,
Q65,
The Peanut Butter Conspiracy,
Pantytec,
Eden Ahbez,
Metal Thangz,
Bobby Hutcherson,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.