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 Seychelles and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Lagos 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 808 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 Art Ensemble Of Chicago to the electroclash kids.
I played it at the Spitz.
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 The Wake. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Cecil Taylor 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw 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?
Nik Kershaw,
the Association,
MC5,
Intrusion,
The Monochrome Set,
Minnie Riperton,
8 Eyed Spy,
The Black Dice,
Boz Scaggs,
Fatback Band,
Moebius,
Circle Jerks,
The Remains,
Gong,
Section 25,
The Men They Couldn't Hang,
Crispian St. Peters,
Metal Thangz,
Idris Muhammad,
Brass Construction,
Robert Wyatt,
Ken Boothe,
The Moleskins,
Rapeman,
Barbara Tucker,
World's Most,
Heavy D & The Boyz,
Joey Negro,
Barry Ungar,
Rotary Connection,
Matthew Halsall,
Spandau Ballet,
Wally Richardson,
New Age Steppers,
John Lydon,
Dennis Brown,
Selector Dub Narcotic,
David McCallum,
Icehouse,
Essential Logic,
The Vogues,
Crispy Ambulance,
Lucky Dragons,
Saccharine Trust,
The New Christs,
Clear Light,
Marine Girls,
The Index,
Eli Mardock,
Con Funk Shun,
Little Man,
Audionom,
Aaron Thompson,
Flash Fearless,
Gerry Rafferty,
Robert Görl,
H. Thieme,
Accadde A,
Fela Kuti,
Max Romeo,
Sticky Fingaz feat. Raekwon,
Deakin, Deakin, Deakin, Deakin.
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.