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 Suriname and from Portland.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Halifax.
I'm losing my edge to the art-school Delhi 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 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 Eve St. Jones to the jazz 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 Ludus. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Pharaoh Sanders and the Fire Engines,
Oppenheimer Analysis,
Gerry Rafferty,
Surgeon,
The Standells,
Marc Almond,
Soulsonic Force,
Piero Umiliani,
Matthew Bourne,
Zapp,
Au Pairs,
Jacques Brel,
The Techniques,
Radiohead,
Roxy Music,
UT,
Japan,
Public Image Ltd.,
MDC,
The New Christs,
Charles Mingus,
World's Most,
kango's stein massive,
Bill Wells,
Kas Product,
Nas,
The Selecter,
Tears for Fears,
Throbbing Gristle,
The Count Five,
Delta 5,
Sarah Menescal,
Moss Icon,
E-Dancer,
Black Sheep,
Jerry's Kids,
Grandmaster Flash and the Furious Five,
Stetsasonic,
James White and The Blacks,
Avey Tare & Kría Brekkan,
Pete Rock & C.L. Smooth,
Erykah Badu,
Robert Görl,
Sonny Sharrock,
John Lydon,
These Immortal Souls,
Nick Fraelich,
Lakeside,
Lalann,
Bootsy's Rubber Band,
Deepchord,
Gil Scott Heron,
Sad Lovers and Giants,
Avey Tare,
Cybotron,
Marmalade,
Cameo,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.