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 Slovenia and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 These Immortal Souls to the grime kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Sex Pistols 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Aural Exciters,
48th St. Collective,
Mr. Review,
Larry & the Blue Notes,
Gang Gang Dance,
Monks,
Byron Stingily,
Yellowson,
Jeru the Damaja,
Cluster,
Little Man,
Marshall Jefferson,
Grauzone,
Dual Sessions,
Funkadelic,
Slick Rick,
Minnie Riperton,
Gabor Szabo,
Be Bop Deluxe,
Ken Boothe,
Mo-Dettes,
David McCallum,
Pierre Henry,
The Tremeloes,
Thompson Twins,
Talk Talk,
Moss Icon,
Section 25,
Loose Ends,
Soulsonic Force,
Pulsallama,
The Searchers,
Rotary Connection,
Stockholm Monsters,
The Trojans,
Aaron Thompson,
FM Einheit,
UT,
Bluetip,
Cabaret Voltaire,
The Standells,
Bang on a Can All-Stars,
The Walker Brothers,
Prince Buster,
Jesper Dahlbäck,
Eli Mardock,
Terrestrial Tones,
Siglo XX,
Supertramp,
Lou Reed & Metallica,
Rakim,
Panda Bear,
Patti Smith,
Sunsets and Hearts,
Anakelly,
Kool G Rap & DJ Polo,
Funky Four + One,
The Durutti Column,
Soft Machine,
The Dave Clark Five,
Max Romeo,
Pharoah Sanders,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.