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 Guinea-Bissau and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Manchester.
I'm losing my edge to the art-school Taipei 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 marimba 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 Essential Logic to the techno kids.
I played it at the Troubador.
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 The Black Dice. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Jeru the Damaja,
Dead Boys,
The Gap Band,
Avey Tare,
Joe Finger,
Terry Callier,
Cluster,
Skriet,
Black Pus,
Swans,
James Chance & The Contortions,
Howard Jones,
Bobby Byrd,
The Human League,
Rotary Connection,
New Order,
Sun City Girls,
Joey Negro,
The Standells,
Gerry Rafferty,
Lou Reed & Metallica,
F. McDonald,
Vaughan Mason & Crew,
Magazine,
Crispy Ambulance,
Soft Machine,
Cecil Taylor,
Soulsonic Force,
Wolf Eyes,
Spandau Ballet,
Theoretical Girls,
Big Daddy Kane,
The Beau Brummels,
Rites of Spring,
Lonnie Liston Smith,
Pharoah Sanders,
John Coltrane,
Jeff Mills,
Pharaoh Sanders and the Fire Engines,
Bauhaus,
Interpol,
Andrew Ashong & Theo Parrish,
Sonny Sharrock,
Marvin Gaye,
Marc Almond,
Fad Gadget,
Soft Cell,
Fatback Band,
Warsaw,
The Gun Club,
T.S.O.L.,
Radiopuhelimet,
Nirvana,
Ice-T,
Radio Birdman,
Bobby Sherman,
Lakeside,
Röyhkä ja Rättö ja Lehtisalo,
The Fall,
Mantronix,
The Evens,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.