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 Uruguay and from Halifax.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Scrapy to the crunk kids.
I played it at the Troubador.
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 Thompson Twins. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Alice Coltrane,
the Fania All-Stars,
CMW,
Arcadia,
Ultravox,
K-Klass,
The Slackers,
Pierre Henry,
Rhythm & Sound,
Letta Mbulu,
The Dave Clark Five,
The Blues Magoos,
The Names,
The Pop Group,
Fela Kuti,
Aswad,
Technova,
Can,
Y Pants,
Gang of Four,
Notorious BIG live in Amsterdam,
Echo & the Bunnymen,
Marine Girls,
Ronan,
The Standells,
Harry Pussy,
Max Romeo,
Model 500,
Henry Cow,
Heaven 17,
Cheater Slicks,
Nation of Ulysses,
Reuben Wilson,
Jeru the Damaja,
Pantytec,
Barrington Levy,
Rahsaan Roland Kirk,
Scrapy,
Byron Stingily,
Oppenheimer Analysis,
Kevin Saunderson,
Quantec,
Aural Exciters,
Swans,
Youth Brigade,
Smog,
The Pretty Things,
H. Thieme,
Altered Images,
The Cramps,
Mission of Burma,
The Stooges,
Fat Boys,
Slave,
DJ Style,
The Durutti Column,
Gil Scott-Heron and Jamie xx,
Orchestral Manoeuvres in the Dark,
Wolf Eyes,
Gregory Isaacs,
Wings,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Average White Band,
The Sonics, The Sonics, The Sonics, The Sonics.
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.