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 Chad and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Manchester 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 808 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 UT to the crunk kids.
I played it at the Astoria.
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 Pretty Things. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Theoretical Girls 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 '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Flipper,
The Selecter,
Letta Mbulu,
Tim Buckley,
The Buckinghams,
Juan Atkins,
Dual Sessions,
Skriet,
Leonard Cohen,
A Certain Ratio,
Roxette,
Gabor Szabo,
Morten Harket,
K-Klass,
Zapp,
Magma,
Nas,
Japan,
Harpers Bizarre,
Yusef Lateef,
X-Ray Spex,
Radiohead,
The Dead C,
Kas Product,
Derrick May,
June Days,
Jesper Dahlbäck,
Tres Demented,
China Crisis,
The Black Dice,
Quantec,
Fatback Band,
Faraquet,
Country Joe & The Fish,
Joe Smooth,
John Cale,
New Order,
The Grass Roots,
June of 44,
Jandek,
Radiopuhelimet,
The Electric Prunes,
The Mojo Men,
Lungfish,
Aaron Thompson,
Scott Walker,
Lou Christie,
Junior Murvin,
Stiv Bators,
Q65,
Sonny Sharrock,
ABC,
Los Fastidios,
Wolf Eyes,
Major Organ And The Adding Machine,
James Chance & The Contortions,
John Holt,
Gary Puckett & The Union Gap,
Peter & Gordon,
Rhythim Is Rhythim,
Schoolly D,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.