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 Israel and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school London 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 Nile Rodgers 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 Roxy Music to the electroclash kids.
I played it at Cafe Wha.
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 Banda Bassotti. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Tears for Fears,
London Community Gospel Choir,
Brick,
Gang of Four,
Organ,
Masters at Work,
Yaz,
Joy Division,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
Minnie Riperton,
Agitation Free,
Slave,
48th St. Collective,
Marshall Jefferson,
Soul II Soul,
Cymande,
Q65,
The Toasters,
The J.B.'s,
Lightning Bolt,
kango's stein massive,
The Techniques,
Cheater Slicks,
Terror Squad Feat. Camron,
Aaron Thompson,
The Sisters of Mercy,
Kerrie Biddell,
Sight & Sound,
Essential Logic,
Junior Murvin,
Nas,
Carl Craig,
Supertramp,
Yellowson,
Sun City Girls,
The Beau Brummels,
The Cowsills,
Ornette Coleman,
Nik Kershaw,
Andrew Hill,
June Days,
Laurel Aitken,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
Joey Negro,
Spoonie Gee,
Eve St. Jones,
Donald Byrd,
The Velvet Underground,
Sex Pistols,
Bob Dylan,
John Coltrane,
the Soft Cell,
Max Romeo,
Adolescents,
Althea and Donna,
Half Japanese,
Michelle Simonal,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.