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 Uganda and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Paris 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Andrew Hill to the funk kids.
I played it at Trash.
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 EPMD. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Connie Case,
DeepChord presents Echospace,
The Grass Roots,
The Seeds,
Sugar Minott,
Amon Düül II,
Bobby Sherman,
Sound Behaviour,
Motorama,
Ronnie Foster,
Kurtis Blow,
In Retrospect,
Au Pairs,
Hashim,
Röyhkä ja Rättö ja Lehtisalo,
Goldenarms,
The American Breed,
Grandmaster Flash and the Furious Five,
Main Source,
Roxy Music,
Bush Tetras,
Pet Shop Boys,
Roxette,
PIL,
Gerry Rafferty,
Blancmange,
Jimmy McGriff,
The Skatalites,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric B and Rakim,
Buzzcocks,
The Velvet Underground,
Lee Hazlewood,
Bizarre Inc.,
Nico,
Moby Grape,
Marc Almond,
Outsiders,
Henry Cow,
Fifty Foot Hose,
Rites of Spring,
Fat Boys,
Derrick May,
The Buckinghams,
Country Joe & The Fish,
ABC,
Be Bop Deluxe,
Bill Wells,
The Fugs,
The Young Rascals,
Pere Ubu,
Graham Central Station,
The Fortunes,
the Fania All-Stars,
Television,
Aural Exciters,
Black Bananas,
Bootsy's Rubber Band,
Circle Jerks,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.