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 Andorra and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Paris 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 snare 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 Pole to the rap kids.
I played it at CBGB's.
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 Chris & Cosey. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
The Royal Family And The Poor,
Crash Course in Science,
ABBA,
Chrome,
Swans,
Archie Shepp,
Nas,
Chris Corsano,
Faust,
T. Rex,
Franke,
Deadbeat,
The Skatalites,
The Peanut Butter Conspiracy,
Deakin,
Max Romeo,
Sugar Minott,
Lee Hazlewood,
The Doobie Brothers,
David Bowie,
Kings Of Tomorrow,
Mary Jane Girls,
Albert Ayler,
Jacques Brel,
Lou Christie,
The Fire Engines,
The American Breed,
Stereo Dub,
These Immortal Souls,
Das Ding,
Black Pus,
The Chocolate Watch Band,
Joyce Sims,
Avey Tare's Slasher Flicks,
The Offenders,
Kool G Rap & DJ Polo,
The Seeds,
Anakelly,
The Selecter,
The Mummies,
Von Mondo,
June Days,
Yaz,
Arcadia,
Neil Young,
Saccharine Trust,
London Community Gospel Choir,
Bootsy's Rubber Band,
Eyeless In Gaza,
Kauko Röyhkä ja Narttu,
Little Man,
The Real Kids,
Lightning Bolt,
Stockholm Monsters,
Soft Cell,
kango's stein massive,
Simply Red,
Kurtis Blow,
Chris & Cosey,
Tom Boy,
Icehouse,
Carl Craig,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.