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 Mauritius and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Milan 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 chamberlin 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 Gerry Rafferty to the grime 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 Gang Starr. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Kango’s Stein Massive,
Pharoah Sanders,
Electric Light Orchestra,
Avey Tare,
Ornette Coleman,
Hoover,
Avey Tare & Kría Brekkan,
Sound Behaviour,
Blossom Toes,
Amon Düül,
KRS-One,
Robert Wyatt,
Mandrill,
Susan Cadogan,
Gang Green,
Sunsets and Hearts,
Albert Ayler,
DJ Sneak,
cv313,
Gabor Szabo,
Glambeats Corp.,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
New Age Steppers,
Y Pants,
Spoonie Gee,
Tres Demented,
London Community Gospel Choir,
Newcleus,
Echo & the Bunnymen,
Depeche Mode,
In Retrospect,
Black Pus,
Scott Walker + Sunn O))),
The Cramps,
Louis and Bebe Barron,
Traffic Nightmare,
The Fortunes,
Derrick May,
T. Rex,
Frankie Knuckles,
These Immortal Souls,
The Offenders,
Howard Jones,
Duran Duran,
The Blues Magoos,
Kaleidoscope,
Joe Smooth,
Sticky Fingaz feat. Raekwon,
The Saints,
Sarah Menescal,
Throbbing Gristle,
Lyres,
Country Joe & The Fish,
DJ Style,
Funky Four + One,
Eli Mardock,
Big Daddy Kane,
the Bar-Kays,
Beasts of Bourbon,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.