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 United Kingdom and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 ABBA to the rap 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 Fat Boys. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
James White and The Blacks,
Piero Umiliani,
Joe Smooth,
Sparks,
Prince Buster,
Newcleus,
Index,
Strawberry Alarm Clock,
The Leaves,
Selector Dub Narcotic,
Ornette Coleman,
The Gap Band,
Public Image Ltd.,
Half Japanese,
Letta Mbulu,
The Blackbyrds,
Al Stewart,
Supertramp,
Rhythim Is Rhythim,
Art Ensemble Of Chicago,
Pharoah Sanders,
Marcia Griffiths,
Ice-T,
X-Ray Spex,
Lebanon Hanover,
Camron Feat. Memphis Bleek And Beenie Seigel,
New York Dolls,
10cc,
Nation of Ulysses,
DJ Style,
Q65,
Lou Christie,
Rotary Connection,
Graham Central Station,
The American Breed,
The Wake,
Gabor Szabo,
Fatback Band,
Pylon,
Amon Düül,
The Raincoats,
Lyres,
Monolake,
Warsaw,
DJ Sneak,
David Axelrod,
K-Klass,
Neil Young,
Erykah Badu,
Q and Not U,
The Men They Couldn't Hang,
The Gladiators,
Girls At Our Best!,
Rakim,
Eric Dolphy,
Boredoms,
Eve St. Jones,
Gregory Isaacs,
Sugar Minott,
Scan 7,
the Fania All-Stars,
Cymande,
The Neon Judgement,
Swans, Swans, Swans, Swans.
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.