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 Haiti and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Seoul and Accra.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 The Grass Roots to the jazz 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 Gladiators. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Gregory Isaacs,
Nation of Ulysses,
The Remains,
Selector Dub Narcotic,
Ronnie Foster,
Donny Hathaway,
The West Coast Pop Art Experimental Band,
Brand Nubian,
Ultramagnetic MC's,
Wally Richardson,
Notorious Big And Bone Thugs,
The Alarm Clocks,
The Music Machine,
Hoover,
FM Einheit,
Minny Pops,
Roy Ayers,
The Saints,
La Düsseldorf,
Albert Ayler,
Rekid,
DJ Sneak,
Fear,
Rhythm & Sound,
Colin Newman,
Lizzy Mercier Descloux,
Roxette,
Scratch Acid,
Theoretical Girls,
Lightning Bolt,
Lalo Schifrin,
Rakim,
The Mojo Men,
Mark Hollis,
Michelle Simonal,
Bootsy's Rubber Band,
The Fuzztones,
Country Joe & The Fish,
Liliput,
Rapeman,
Derrick Morgan,
Slave,
Interpol,
Angels of Light & Akron/Family,
Sex Pistols,
Lonnie Liston Smith,
Scion,
Bronski Beat,
Laurel Aitken,
Kool Moe Dee,
Justin Hinds & The Dominoes,
Japan,
New Age Steppers,
Jesper Dahlback,
UT,
Jesper Dahlbäck,
8 Eyed Spy,
Joe Finger,
Inner City,
Pulsallama,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.