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 Madagascar and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 Urselle to the rap 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 The Doobie Brothers. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Yusef Lateef 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Sarah Menescal,
Mission of Burma,
The Residents,
The Techniques,
Donny Hathaway,
The Modern Lovers,
Janne Schatter,
The Fortunes,
These Immortal Souls,
Circle Jerks,
MDC,
Fela Kuti,
Gian Franco Pienzio,
The Gap Band,
Roxette,
Main Source,
Barrington Levy,
Blancmange,
Talk Talk,
CMW,
Marcia Griffiths,
Arthur Verocai,
Grandmaster Flash and the Furious Five,
Oneida,
Nas,
Heavy D & The Boyz,
Ohio Players,
Todd Terry,
Banda Bassotti,
Thompson Twins,
Kevin Saunderson,
The Gladiators,
Funky Four + One,
Hasil Adkins,
K-Klass,
Grandmaster Flash,
Bizarre Inc.,
E-Dancer,
Make Up,
Stetsasonic,
Bob Dylan,
Big Daddy Kane,
The Human League,
Sun Ra,
Dead Boys,
8 Eyed Spy,
Soul Sonic Force,
Teenage Jesus and the Jerks,
New York Dolls,
Maleditus Sound,
Bang on a Can All-Stars,
Rod Modell,
Avey Tare & Kría Brekkan,
Cymande,
Graham Central Station,
The West Coast Pop Art Experimental Band,
Von Mondo,
The Young Rascals,
Jeff Lynne,
Sonic Youth,
The J.B.'s,
Anakelly, Anakelly, Anakelly, Anakelly.
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.