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 Tuvalu and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Peter & Gordon to the dance kids.
I played it at the Astoria.
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 Boz Scaggs. All the underground hits.
All Nas tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Blossom Toes,
Skriet,
The United States of America,
Michelle Simonal,
The American Breed,
Banda Bassotti,
Robert Wyatt,
Jesper Dahlbäck,
Sad Lovers and Giants,
Pere Ubu,
Juan Atkins,
Arab on Radar,
Black Bananas,
Kerri Chandler,
The Men They Couldn't Hang,
Bootsy's Rubber Band,
Urselle,
Section 25,
Simply Red,
Radio Birdman,
Ludus,
Slick Rick,
Soft Cell,
Easy Going,
Unwound,
Johnny Clarke,
The Five Americans,
Fad Gadget,
Donny Hathaway,
The J.B.'s,
Make Up,
ABC,
Vladislav Delay,
Gil Scott-Heron & Brian Jackson,
Pagans,
Pantaleimon,
The Martian,
Robert Hood,
Harmonia,
Peter & Gordon,
Angry Samoans,
Altered Images,
Joe Smooth,
Procol Harum,
This Heat,
Marc Romboy vs. Booka Shade,
Yusef Lateef,
Cal Tjader,
Byron Stingily,
Brick,
Brass Construction,
These Immortal Souls,
Subhumans,
Pole,
Chris & Cosey,
Swans,
Donald Byrd,
Moby Grape,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.