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 Senegal and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Bologna 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Lakeside to the funk kids.
I played it at the Troubador.
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 Strawberry Alarm Clock. All the underground hits.
All June Days tracks. I heard you have a vinyl of every The Dead C 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Grandmaster Flash and the Furious Five,
Public Enemy,
Das Ding,
Ornette Coleman,
Vladislav Delay,
Dennis Brown,
Ice-T,
The Music Machine,
Bang On A Can,
A Flock of Seagulls,
Ludus,
Black Pus,
Infiniti,
Johnny Clarke,
Howard Jones,
DeepChord presents Echospace,
Bobby Womack,
Ronnie Foster,
ABC,
Judy Mowatt,
Blake Baxter,
The Alarm Clocks,
The Gories,
These Immortal Souls,
Lou Reed,
Wings,
Lightning Bolt,
The Monochrome Set,
Eric B and Rakim,
Gang Starr,
Arab on Radar,
The Slackers,
Freddie Wadling,
Lou Christie,
Visionaries,LMNO, T- Love & Iriscience,
Kool G Rap & DJ Polo,
Nas,
the Soft Cell,
Teenage Jesus and the Jerks,
Goldenarms,
Roy Ayers,
Technova,
Mr. Review,
Motorama,
Fat Boys,
Rowland S Howard / Lydia Lunch,
Roger Hodgson,
Surgeon,
Arthur Verocai,
The Jesus and Mary Chain,
Drive Like Jehu,
Spoonie Gee,
Desert Stars,
Crash Course in Science,
Monolake,
Gil Scott Heron,
Delon & Dalcan,
Cabaret Voltaire,
The Busters,
LL Cool J,
Yusef Lateef,
the Human League, the Human League, the Human League, the Human League.
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.