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 Trinidad & Tobago and from Mexico City.
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 1979.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 E-Dancer to the techno 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 Amazonics. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Alarm Clocks,
Livin' Joy,
Joensuu 1685,
The Electric Prunes,
Delon & Dalcan,
Cabaret Voltaire,
Motorama,
Crash Course in Science,
Dr. Dre and Snoop Doggy Dog,
Sister Nancy,
Stetsasonic,
Ajijia Myrayebe,
The Last Poets,
Lindisfarne,
The Skatalites,
Chris Corsano,
Von Mondo,
Juan Atkins,
Gang Starr,
Lonnie Liston Smith,
The Velvet Underground,
Sight & Sound,
The Peanut Butter Conspiracy,
Lalann,
The New Christs,
Zero Boys,
Rekid,
Jandek,
Minnie Riperton,
Major Organ And The Adding Machine,
Sun Ra Arkestra,
Wally Richardson,
The Seeds,
The Cosmic Jokers,
Symarip,
World's Most,
The Associates,
The Black Dice,
The Human League,
Terry Callier,
Barry Ungar,
Gregory Isaacs,
The Count Five,
Isaac Hayes,
Pierre Henry,
The Vogues,
Freddie Wadling,
The Doors,
Maurizio,
Dual Sessions,
Sad Lovers and Giants,
Heaven 17,
Flipper,
Ralphi Rosario,
Slick Rick,
The Fortunes,
Country Joe & The Fish,
Gary Puckett & The Union Gap,
Public Image Ltd.,
Fluxion,
ABBA, ABBA, ABBA, ABBA.
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.