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 Mongolia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the rap 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 Davy DMX. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Pantytec 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Banda Bassotti,
Byron Stingily,
Sticky Fingaz feat. Raekwon,
The Barracudas,
10cc,
Public Image Ltd.,
Carl Craig,
Echospace,
Laurel Aitken,
Rites of Spring,
Sarah Menescal,
Pete Rock & C.L. Smooth,
Eve St. Jones,
OOIOO,
Rhythm & Sound,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Los Fastidios,
Lebanon Hanover,
Wolf Eyes,
Brick,
Henry Cow,
The Birthday Party,
Drexciya,
Graham Central Station,
Lyres,
Funky Four + One,
Bobbi Humphrey,
Thee Headcoats,
Roy Ayers,
Aswad,
Harry Pussy,
Kauko Röyhkä ja Narttu,
Idris Muhammad,
The American Breed,
Cybotron,
PIL,
Sugar Minott,
Dead Boys,
The Happenings,
Porter Ricks,
June of 44,
the Slits,
Barclay James Harvest,
The Fall,
Nation of Ulysses,
Bobby Byrd,
Ten City,
Sexual Harrassment,
James Chance & The Contortions,
Max Romeo,
The Slits,
Deepchord,
The Cowsills,
Marc Romboy vs. Booka Shade,
Wings,
Pussy Galore,
Eurythmics,
JFA,
The Durutti Column,
Silicon Teens,
Juan Atkins,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.