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 Korea North and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Manila and Cairo.
I'm losing my edge to the art-school Mexico City 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 synthesizer 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 Sugar Minott to the disco kids.
I played it at Cafe Wha.
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 Hardrive. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Darondo 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Blues Magoos,
Kas Product,
H. Thieme,
Circle Jerks,
Aloha Tigers,
Gary Puckett & The Union Gap,
the Association,
DJ Style,
Peter Gordon & Love of Life Orchestra,
Boogie Down Productions,
Eric Dolphy,
Tim Buckley,
Television,
Jeff Mills,
AZ,
Idris Muhammad,
Gong,
A Certain Ratio,
Scratch Acid,
The New Christs,
Drexciya,
The Standells,
Soul II Soul,
The Slits,
Rod Modell,
Kauko Röyhkä ja Narttu,
Rufus Thomas,
Brass Construction,
Harpers Bizarre,
Archie Shepp,
Erasure,
Patti Smith,
London Community Gospel Choir,
Cal Tjader,
Smog,
Monolake,
Hashim,
Gang Green,
the Soft Cell,
D'Angelo,
The Five Americans,
Warsaw,
World's Most,
The Star Department,
Skaos,
Stiv Bators,
New York Dolls,
Andrew Ashong & Theo Parrish,
Erykah Badu,
Pantytec,
Bootsy Collins,
Maleditus Sound,
Khruangbin,
Whodini,
Inner City,
Iggy Pop,
X-101,
Crash Course in Science,
The Wake,
Yaz,
Jawbox,
The Sisters of Mercy,
Joensuu 1685,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.