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 Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Lagos and New York.
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 Lou Reed 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 Radiohead to the disco kids.
I played it at CBGB's.
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 Pagans. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Eli Mardock,
Maurizio,
Black Pus,
Lightning Bolt,
Rapeman,
Agitation Free,
Joe Finger,
Roy Ayers Ubiquity,
The Alarm Clocks,
The West Coast Pop Art Experimental Band,
Ronan,
Marc Romboy vs. Booka Shade,
Kings Of Tomorrow,
The Stooges,
MC5,
Alice Coltrane,
Lonnie Liston Smith,
Mars,
Bobby Sherman,
The Neon Judgement,
Black Sheep,
The Buckinghams,
Country Joe & The Fish,
Malaria!,
The Star Department,
Rahsaan Roland Kirk,
Josef K,
Delta 5,
Gian Franco Pienzio,
De La Soul & Jungle Brothers,
Prince Buster,
Piero Umiliani,
Amazonics,
DNA,
The Monochrome Set,
Ponytail,
Pere Ubu,
Eddi Front,
The Gap Band,
Man Eating Sloth,
Das Ding,
The Real Kids,
The Victims,
Lalann,
Magma,
Average White Band,
Can,
The Music Machine,
Idris Muhammad,
Howard Jones,
Notorious BIG live in Amsterdam,
Byron Stingily,
The Standells,
Heaven 17,
Rotary Connection,
Sällskapet,
Technova,
Sixth Finger,
the Swans,
The American Breed,
Cymande, Cymande, Cymande, Cymande.
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.