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 Turkmenistan and from Paris.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Milan and Philadelphia.
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 güiro sounds with much patience.
I was there when Donald Fagen 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 Spandau Ballet to the grime 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 Dorothy Ashby. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Public Enemy,
AZ,
Desert Stars,
Depeche Mode,
Iggy Pop,
John Holt,
Rakim,
Country Joe & The Fish,
Alison Limerick,
Pere Ubu,
Ronnie Foster,
David Axelrod,
Mandrill,
Funkadelic,
Marine Girls,
Johnny Clarke,
Pet Shop Boys,
Jesper Dahlbäck,
The Music Machine,
Wasted Youth,
Andrew Ashong & Theo Parrish,
Mr. Review,
Television Personalities,
The Litter,
Ash Ra Tempel,
Bill Wells,
Bang on a Can All-Stars,
Gang of Four,
Swell Maps,
The Neon Judgement,
Piero Umiliani,
Notorious Big And Bone Thugs,
E-Dancer,
MC5,
Big Daddy Kane,
Massinfluence,
Sad Lovers and Giants,
10cc,
Bang On A Can,
Jimmy McGriff,
It's A Beautiful Day,
Dual Sessions,
Index,
Notorious BIG live in Amsterdam,
Ituana,
Symarip,
Lee Hazlewood,
Pantytec,
Cymande,
the Human League,
LL Cool J,
Cal Tjader,
Graham Central Station,
Soft Machine,
Spandau Ballet,
Joe Finger,
Wally Richardson,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.