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 Russia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Jeff Mills to the jazz kids.
I played it at the Crocodile.
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 Altered Images. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Echo & the Bunnymen,
Robert Hood,
Crispy Ambulance,
Pharoah Sanders,
Eric Copeland,
Fear,
Maleditus Sound,
Cybotron,
Electric Light Orchestra,
The Birthday Party,
Ajijia Myrayebe,
Subhumans,
Piero Umiliani,
Gil Scott-Heron & Brian Jackson,
Barbara Tucker,
Soft Machine,
The Mighty Diamonds,
the Bar-Kays,
the Soft Cell,
Pierre Henry,
Ralphi Rosario,
CMW,
The Real Kids,
Nirvana,
Masters at Work,
Lafayette Afro Rock Band,
Minor Threat,
Gregory Isaacs,
The Seeds,
The Human League,
The Fortunes,
Moby Grape,
Roxette,
Max Romeo,
Curtis Mayfield,
Ultravox,
David Axelrod,
Matthew Halsall,
Half Japanese,
Hasil Adkins,
Susan Cadogan,
The Flesh Eaters,
Bobby Byrd,
Andrew Ashong & Theo Parrish,
Stetsasonic,
Heaven 17,
Lizzy Mercier Descloux,
Model 500,
Charles Mingus,
Amon Düül II,
Moss Icon,
Cal Tjader,
Kayak,
Brick,
Chrome,
Livin' Joy,
MC5,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Terry Callier,
The Martian, The Martian, The Martian, The Martian.
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.