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 Tunisia and from Calgary.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Manchester 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the grime kids.
I played it at the Spitz.
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 Yellowson. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
R.M.O.,
Morten Harket,
The Fortunes,
Laurel Aitken,
Joy Division,
Massinfluence,
The Monochrome Set,
the Bar-Kays,
Tears for Fears,
Alice Coltrane,
Pierre Henry,
Accadde A,
Fluxion,
The Dave Clark Five,
Mad Mike,
The Trojans,
LL Cool J,
Jacques Brel,
Maurizio,
Skriet,
Country Teasers,
cv313,
The Alarm Clocks,
Eyeless In Gaza,
A Flock of Seagulls,
Piero Umiliani,
Yellowson,
Sight & Sound,
Cheater Slicks,
Black Moon,
Sexual Harrassment,
DJ Style,
Terrestrial Tones,
Strawberry Alarm Clock,
Stereo Dub,
Josef K,
Gong,
Andrew Ashong & Theo Parrish,
Slick Rick,
a-ha,
Ornette Coleman,
Thee Headcoats,
Kango’s Stein Massive,
Grey Daturas,
La Düsseldorf,
Stiv Bators,
The Grass Roots,
Angry Samoans,
L. Decosne,
kango's stein massive,
The Sisters of Mercy,
Jacob Miller,
CMW,
The Pretty Things,
Cecil Taylor,
Fort Wilson Riot,
The Star Department,
Eric B and Rakim,
Pantaleimon,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.