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 Belarus and from Beijing.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Lou Reed 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 Gang Gang Dance to the techno kids.
I played it at the Crocodile.
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 Los Fastidios. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Tears for Fears,
Vainqueur,
the Slits,
Cabaret Voltaire,
Jerry Gold Smith,
Todd Terry,
Frankie Knuckles,
Sun Ra,
Sex Pistols,
Reuben Wilson,
Pete Rock & C.L. Smooth,
Chris Corsano,
Grauzone,
Marcia Griffiths,
The Misunderstood,
The Invisible,
Buzzcocks,
Grandmaster Flash,
Shuggie Otis,
Pussy Galore,
Terror Squad Feat. Camron,
Section 25,
Surgeon,
Rowland S Howard / Lydia Lunch,
Laurel Aitken,
Art Ensemble Of Chicago,
The Fall,
The Star Department,
Avey Tare,
Jeru the Damaja,
Rhythim Is Rhythim,
Angels of Light & Akron/Family,
Mission of Burma,
D'Angelo,
Wighnomy Brothers & Robag Wruhme,
Mars,
Arthur Verocai,
Main Source,
Jerry's Kids,
The Residents,
These Immortal Souls,
The Standells,
Notorious BIG live in Amsterdam,
Tommy Roe,
Black Moon,
Theoretical Girls,
Boz Scaggs,
Ohio Players,
Justin Hinds & The Dominoes,
Radio Birdman,
Intrusion,
Boredoms,
Joe Smooth,
Rufus Thomas,
The Beau Brummels,
Grandmaster Flash and the Furious Five,
Tropical Tobacco,
Brand Nubian,
Skaos,
Donald Byrd,
Althea and Donna,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.