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 Ghana and from Cairo.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Spokane 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 Holger Czukay 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 Mary Jane Girls to the punk 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 K-Klass. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every MDC 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Alton Ellis,
Oneida,
Selector Dub Narcotic,
The American Breed,
Slave,
Cameo,
Boogie Down Productions,
Pharoah Sanders,
Sam Rivers,
Ronnie Foster,
Siglo XX,
Young Marble Giants,
Fifty Foot Hose,
Pole,
Severed Heads,
The Offenders,
The Techniques,
The Alarm Clocks,
Gabor Szabo,
Outsiders,
Grauzone,
Chrome,
Can,
Scrapy,
The Mojo Men,
Lower 48,
Gregory Isaacs,
Mantronix,
Todd Rundgren,
Cal Tjader,
Robert Hood,
Gang Green,
Roxy Music,
The Moleskins,
Theoretical Girls,
MC5,
Strawberry Alarm Clock,
Los Fastidios,
Scan 7,
Kerrie Biddell,
Major Organ And The Adding Machine,
Bobby Womack,
Thinking Fellers Union Local 282,
Rhythm & Sound,
Letta Mbulu,
The Buckinghams,
It's A Beautiful Day,
Super Lover Cee & Casanova Rud,
E-Dancer,
Deadbeat,
Duran Duran,
Röyhkä ja Rättö ja Lehtisalo,
Tres Demented,
Bootsy Collins,
Beasts of Bourbon,
Ultravox,
Reagan Youth,
Fela Kuti,
Skriet,
Sister Nancy,
Ice-T,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.