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 Turkey and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Jakarta 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 Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 New Age Steppers to the punk kids.
I played it at the Hacienda.
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 Danielle Patucci. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Quadrant 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
DNA,
Motorama,
Lafayette Afro Rock Band,
Donald Byrd,
Joey Negro,
Intrusion,
The Searchers,
Banda Bassotti,
Sarah Menescal,
Fear,
Godley & Creme,
Liaisons Dangereuses,
The Cure,
Malaria!,
Joy Division,
Prince Buster,
Crispy Ambulance,
Suburban Knight,
Mr. Review,
Drexciya,
Ohio Players,
Rufus Thomas,
Franke,
Terror Squad Feat. Camron,
Funkadelic,
Moby Grape,
Lou Reed,
Deutsch Amerikanische Freundschaft,
Tom Boy,
a-ha,
Rhythm & Sound,
The Knickerbockers,
Pulsallama,
Scott Walker + Sunn O))),
Vaughan Mason & Crew,
The Names,
Gil Scott-Heron & Brian Jackson,
Bang on a Can All-Stars,
Janne Schatter,
Chris Corsano,
MC5,
OOIOO,
Fad Gadget,
Junior Murvin,
Nik Kershaw,
Curtis Mayfield,
Ten City,
Sam Rivers,
Ralphi Rosario,
Crash Course in Science,
Pete Rock & C.L. Smooth,
The Men They Couldn't Hang,
The Red Krayola,
The Grass Roots,
The Fuzztones,
the Human League,
the Fania All-Stars,
Graham Central Station,
The Alarm Clocks,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.