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 Guinea and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro 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 Masters at Work to the punk kids.
I played it at Trash.
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 Beasts of Bourbon. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Grey Daturas 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Michelle Simonal,
Echo & the Bunnymen,
Masters at Work,
U.S. Maple,
Ash Ra Tempel,
Pete Rock & C.L. Smooth,
China Crisis,
Nas,
Eurythmics,
Bootsy Collins,
Sällskapet,
Franke,
The Cramps,
The Stooges,
Royal Trux,
Andrew Hill,
Donny Hathaway,
Soul II Soul,
X-Ray Spex,
Rekid,
Peter & Gordon,
The Monochrome Set,
Ultimate Spinach,
The Wake,
Major Organ And The Adding Machine,
Country Teasers,
the Soft Cell,
Absolute Body Control,
Loose Ends,
Cecil Taylor,
Junior Murvin,
Sound Behaviour,
Jeff Lynne,
Max Romeo,
Marc Romboy vs. Booka Shade,
Guru Guru,
Dark Day,
Cabaret Voltaire,
The American Breed,
The Red Krayola,
the Swans,
Andrew Ashong & Theo Parrish,
Lightning Bolt,
Alton Ellis,
The Slackers,
Grandmaster Flash,
Barrington Levy,
Brick,
X-102,
Lindisfarne,
Manfred Mann's Earth Band,
Monolake,
cv313,
H. Thieme,
Black Pus,
John Coltrane,
Johnny Clarke,
Thompson Twins,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.