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 Senegal and from Lagos.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Calgary 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Sister Nancy to the jazz 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 The Real Kids. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
X-Ray Spex,
Howard Jones,
China Crisis,
Soul II Soul,
Lou Christie,
Sight & Sound,
CMW,
Desert Stars,
Kas Product,
Henry Cow,
Tropical Tobacco,
Drexciya,
Electric Prunes,
X-101,
Television Personalities,
Fatback Band,
Donny Hathaway,
Visionaries,LMNO, T- Love & Iriscience,
Letta Mbulu,
Aaron Thompson,
Oblivians,
Ralphi Rosario,
Rakim,
Pharoah Sanders,
Roy Ayers Ubiquity,
Oppenheimer Analysis,
Moss Icon,
The Golliwogs,
Slave,
Youth Brigade,
Derrick May,
Blossom Toes,
John Cale,
Bootsy Collins,
Dual Sessions,
Jerry Gold Smith,
Rod Modell,
Nico,
Bill Wells,
Black Moon,
Parry Music,
Sunsets and Hearts,
The Skatalites,
Byron Stingily,
Ornette Coleman,
Mary Jane Girls,
Funkadelic,
48th St. Collective,
Smog,
Pylon,
Ajijia Myrayebe,
Monolake,
Public Image Ltd.,
Sonic Youth,
Joe Smooth,
Organ,
Pantytec,
Shoche,
Von Mondo,
Nick Fraelich,
Robert Hood,
Prince Buster,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.