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 Ecuador and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Seoul 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 mellotron 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 Dorothy Ashby to the grime 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 Excepter. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every The Count Five 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Parry Music,
Spoonie Gee,
Organ,
Jacob Miller,
Nico,
Absolute Body Control,
The Jesus and Mary Chain,
Alice Coltrane,
The American Breed,
Jerry's Kids,
Negative Approach,
Public Image Ltd.,
Crash Course in Science,
Danielle Patucci,
Dawn Penn,
Yusef Lateef,
Todd Rundgren,
Gil Scott-Heron and Jamie xx,
Saccharine Trust,
Al Stewart,
The Residents,
K-Klass,
Pulsallama,
The Smiths,
Ice-T,
The Cosmic Jokers,
Tim Buckley,
Excepter,
Intrusion,
Urselle,
Howard Jones,
Glambeats Corp.,
The Shadows of Knight,
The Human League,
John Foxx,
F. McDonald,
The Gories,
Yellowson,
Crooked Eye,
Ralphi Rosario,
Bush Tetras,
L. Decosne,
Harry Pussy,
Black Pus,
Justin Hinds & The Dominoes,
Bill Near,
The Beau Brummels,
Ten City,
Das Ding,
Avey Tare & Kría Brekkan,
Soft Machine,
X-102,
Bronski Beat,
Loose Ends,
The J.B.'s,
Derrick May,
Brass Construction,
Joey Negro,
The Index,
Wire,
Flamin' Groovies,
The Real Kids,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.