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 Nicaragua and from Mumbai.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
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 rhodes 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 Larry & the Blue Notes to the rap kids.
I played it at the Roxy.
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 Eli Mardock. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Thompson Twins 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Sister Nancy,
Nas,
F. McDonald,
Sun Ra,
The Birthday Party,
Bluetip,
Lindisfarne,
Joe Smooth,
Alison Limerick,
World's Most,
Rakim,
K-Klass,
Ken Boothe,
Teenage Jesus and the Jerks,
Bizarre Inc.,
Toni Rubio,
Lebanon Hanover,
Khruangbin,
B.T. Express,
Bobby Sherman,
Bauhaus,
Essential Logic,
Oppenheimer Analysis,
Frankie Knuckles,
Kerri Chandler,
The Slackers,
Bobby Byrd,
Aloha Tigers,
Danielle Patucci,
Brass Construction,
June of 44,
Bob Dylan,
Bush Tetras,
Symarip,
Deutsch Amerikanische Freundschaft,
Whodini,
Skarface,
Eyeless In Gaza,
Jerry Gold Smith,
Henry Cow,
Goldenarms,
Kaleidoscope,
Sandy B,
Pussy Galore,
Max Romeo,
Avey Tare's Slasher Flicks,
Godley & Creme,
ABC,
The J.B.'s,
Masters at Work,
The Doors,
Eric Dolphy,
Circle Jerks,
Model 500,
Gil Scott-Heron and Jamie xx,
Deepchord,
The Moody Blues,
Oblivians,
Television,
Gabor Szabo,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.