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 Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Manila 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Eve St. Jones to the punk kids.
I played it at the 40 Watt.
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 Curtis Mayfield. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Pagans 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 '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
A Flock of Seagulls,
James White and The Blacks,
The Dirtbombs,
Girls At Our Best!,
Barbara Tucker,
Ken Boothe,
Gregory Isaacs,
Bobby Womack,
Kurtis Blow,
Joey Negro,
June Days,
Amon Düül,
Bill Wells,
Michelle Simonal,
Prince Buster,
Gary Puckett & The Union Gap,
Archie Shepp,
Man Parrish,
The Techniques,
Fugazi,
The Stooges,
Sandy B,
Alice Coltrane,
Kas Product,
New Age Steppers,
Sällskapet,
Ultimate Spinach,
The Beau Brummels,
Inner City,
Eric Copeland,
Selector Dub Narcotic,
Godley & Creme,
Jesper Dahlbäck,
The Victims,
Bobby Hutcherson,
Gang Starr,
Magazine,
U.S. Maple,
A Certain Ratio,
Scratch Acid,
Easy Going,
Mary Jane Girls,
Flipper,
Black Sheep,
the Normal,
Eve St. Jones,
Cymande,
Das Ding,
Masters at Work,
Popol Vuh,
Gang of Four,
Chris Corsano,
New York Dolls,
Matthew Bourne,
The Fortunes,
The Doors,
The Sound,
Pylon,
Mantronix,
Sound Behaviour,
Saccharine Trust,
a-ha,
ABBA, ABBA, ABBA, ABBA.
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.