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 Trinidad & Tobago and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Soul Sonic Force to the grunge 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 Faraquet. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Ken Boothe,
The Red Krayola,
Mantronix,
Eurythmics,
Barclay James Harvest,
Jimmy McGriff,
Gil Scott Heron,
Sad Lovers and Giants,
Major Organ And The Adding Machine,
Morten Harket,
Deepchord,
Joy Division,
Marvin Gaye,
Crime,
Sound Behaviour,
Todd Terry,
Animal Collective,
Ajijia Myrayebe,
Tommy Roe,
Cymande,
The Shadows of Knight,
Blancmange,
Procol Harum,
Desert Stars,
Carl Craig,
Isaac Hayes,
Anakelly,
Hoover,
Joyce Sims,
Glenn Branca,
Section 25,
K-Klass,
8 Eyed Spy,
Gil Scott-Heron & Brian Jackson,
The Electric Prunes,
the Association,
The New Christs,
Rowland S Howard / Lydia Lunch,
Quando Quango,
Loose Ends,
Sun Ra,
Jacques Brel,
Alphaville,
A Certain Ratio,
The Buckinghams,
Tomorrow,
Archie Shepp,
Soul II Soul,
Big Daddy Kane,
The Beau Brummels,
X-102,
Johnny Clarke,
Traffic Nightmare,
It's A Beautiful Day,
Goldenarms,
Dennis Brown,
Unwound,
Glambeats Corp.,
Teenage Jesus and the Jerks,
Skarface,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.