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 Samoa and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Beijing 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 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 Mary Jane Girls to the electroclash kids.
I played it at the 40 Watt.
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 Pharoah Sanders. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Wolf Eyes,
Pete Rock & C.L. Smooth,
Grandmaster Flash,
Mo-Dettes,
Harpers Bizarre,
Cluster,
Lindisfarne,
The Count Five,
Al Stewart,
Sticky Fingaz feat. Raekwon,
The Dirtbombs,
The Offenders,
Section 25,
Chrome,
Sound Behaviour,
Sexual Harrassment,
Donald Byrd,
Wally Richardson,
Mad Mike,
Television Personalities,
Kango’s Stein Massive,
Boogie Down Productions,
Johnny Clarke,
The Motions,
Chris Corsano,
Fatback Band,
The Electric Prunes,
David Bowie,
Barry Ungar,
Art Ensemble Of Chicago,
Be Bop Deluxe,
Cabaret Voltaire,
This Heat,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Pylon,
D'Angelo,
Groovy Waters,
Sun Ra Arkestra,
the Swans,
Robert Wyatt,
New York Dolls,
Derrick May,
The Names,
Flamin' Groovies,
X-101,
Bobby Byrd,
Thee Headcoats,
Siglo XX,
Liaisons Dangereuses,
Marc Almond,
Zapp,
Carl Craig,
Supertramp,
The Selecter,
Nas,
Joe Smooth,
Duran Duran,
Smog, Smog, Smog, Smog.
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.