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 Djibouti and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Sight & Sound to the electroclash 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 Fort Wilson Riot. All the underground hits.
All Organ tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO 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?
The Associates,
Fatback Band,
Major Organ And The Adding Machine,
Lou Reed & John Cale,
Excepter,
Nation of Ulysses,
Smog,
Heaven 17,
Soul Sonic Force,
Dual Sessions,
Laurel Aitken,
Soft Machine,
Gil Scott-Heron & Brian Jackson,
The Mummies,
Marc Romboy vs. Booka Shade,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
The Human League,
Panda Bear,
Kurtis Blow,
Spandau Ballet,
Fela Kuti,
Girls At Our Best!,
Audionom,
Bobby Hutcherson,
Siglo XX,
Negative Approach,
Thinking Fellers Union Local 282,
CMW,
Sight & Sound,
Khruangbin,
Ice-T,
Ronnie Foster,
The Mighty Diamonds,
Accadde A,
Scratch Acid,
E-Dancer,
Delon & Dalcan,
Magma,
Livin' Joy,
Sun City Girls,
Niagra,
MDC,
The Star Department,
Bootsy's Rubber Band,
Stiv Bators,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Smiths,
Neil Young,
Barry Ungar,
Oneida,
Andrew Ashong & Theo Parrish,
Leonard Cohen,
The Angels of Light,
Main Source,
Simply Red,
Sexual Harrassment,
Rhythm & Sound,
The Royal Family And The Poor,
Gian Franco Pienzio,
Dorothy Ashby,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.