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 Uganda and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Beijing 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 linndrum 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 Orchestral Manoeuvres in the Dark to the punk kids.
I played it at the Spitz.
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 Throbbing Gristle. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Jawbox,
a-ha,
Gil Scott-Heron and Jamie xx,
Khruangbin,
Intrusion,
Black Bananas,
Leonard Cohen,
New Age Steppers,
Cal Tjader,
Jeff Lynne,
Yazoo,
Jesper Dahlbäck,
Rapeman,
Major Organ And The Adding Machine,
Brothers Johnson,
Panda Bear,
Fifty Foot Hose,
Kurtis Blow,
Louis and Bebe Barron,
Roy Ayers Ubiquity,
The Kinks,
Amon Düül II,
It's A Beautiful Day,
Arthur Verocai,
Arcadia,
the Fania All-Stars,
Siglo XX,
Jeff Mills,
James White and The Blacks,
Animal Collective,
Dark Day,
Goldenarms,
Sly & The Family Stone,
Al Stewart,
Guru Guru,
The Fall,
Das Ding,
Pharaoh Sanders and the Fire Engines,
Pere Ubu,
Underground Resistance,
The Sonics,
Siouxsie and the Banshees,
Pylon,
Television,
Orchestral Manoeuvres in the Dark,
Moebius,
Shoche,
Excepter,
Marmalade,
Mars,
Pete Rock & C.L. Smooth,
Gichy Dan,
Tommy Roe,
Ohio Players,
Slave,
The Red Krayola,
The Doors,
Yusef Lateef,
Suburban Knight,
Agent Orange,
JFA,
Rakim,
Faust, Faust, Faust, Faust.
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.