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 Dominican Republic and from Winnipeg.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Cairo 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Main Source to the techno 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 Ultra Naté. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
The Cure,
Quando Quango,
Mo-Dettes,
Soul II Soul,
The Smoke,
Graham Central Station,
Crash Course in Science,
Davy DMX,
Lakeside,
Depeche Mode,
Reagan Youth,
Popol Vuh,
Howard Jones,
Zero Boys,
Clear Light,
Toni Rubio,
Interpol,
Excepter,
Jerry Gold Smith,
Sun City Girls,
Wally Richardson,
Althea and Donna,
Tubeway Army,
Notorious BIG live in Amsterdam,
Archie Shepp,
Don Cherry,
Crooked Eye,
Oblivians,
Das Ding,
Simply Red,
Patti Smith,
Rosa Yemen,
X-Ray Spex,
Jerry's Kids,
Warsaw,
Dr. Dre and Snoop Doggy Dog,
Procol Harum,
Gang Gang Dance,
Soft Cell,
Drexciya,
Loose Ends,
The Stooges,
The Selecter,
Grandmaster Flash and the Furious Five,
Masters at Work,
Panda Bear,
The Sonics,
Marcia Griffiths,
John Holt,
Suburban Knight,
Michelle Simonal,
Stockholm Monsters,
The Monks,
Camouflage,
Skaos,
Circle Jerks,
London Community Gospel Choir,
Fatback Band,
Ultra Naté,
Goldenarms,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.