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 Bosnia Herzegovina and from Johannesburg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Stockholm Monsters to the rap kids.
I played it at the Roxy.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Shuggie Otis,
Be Bop Deluxe,
Motorama,
Robert Hood,
Curtis Mayfield,
Camron Feat. Jay Z And Juelz,
Avey Tare & Kría Brekkan,
Marcia Griffiths,
Kerri Chandler,
Blake Baxter,
Ultravox,
Rahsaan Roland Kirk,
Joy Division,
The Move,
Country Joe & The Fish,
June Days,
Boogie Down Productions,
Mark Hollis,
Duran Duran,
Rowland S Howard / Lydia Lunch,
Peter & Gordon,
Morten Harket,
The Men They Couldn't Hang,
World's Most,
Q and Not U,
Jeru the Damaja,
Sam Rivers,
Franke,
Andrew Hill,
Jesper Dahlbäck,
Sällskapet,
One Last Wish,
The Red Krayola,
Grandmaster Flash,
Ice-T,
Roxy Music,
Nas,
New York Dolls,
Liaisons Dangereuses,
Bronski Beat,
DJ Style,
Livin' Joy,
Hasil Adkins,
James White and The Blacks,
Delon & Dalcan,
Ludus,
Ultra Naté,
Radiopuhelimet,
The Busters,
Fat Boys,
Zero Boys,
Scrapy,
Dennis Brown,
Cheater Slicks,
Siglo XX,
Peter Gordon & Love of Life Orchestra,
Wally Richardson,
Amon Düül,
Y Pants, Y Pants, Y Pants, Y Pants.
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.