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 Israel and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Jesper Dahlbäck to the disco 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 Eden Ahbez. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Albert Ayler,
Cabaret Voltaire,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
the Sonics,
The Mighty Diamonds,
KRS-One,
John Lydon,
Kauko Röyhkä ja Narttu,
Parry Music,
OOIOO,
Deadbeat,
Jeff Lynne,
Vaughan Mason & Crew,
Radiopuhelimet,
Thee Headcoats,
Flamin' Groovies,
Altered Images,
La Düsseldorf,
Lalo Schifrin,
Alison Limerick,
Bronski Beat,
Richard Hell and the Voidoids,
Magazine,
Roxy Music,
Max Romeo,
Peter & Gordon,
Bobby Womack,
Ludus,
Royal Trux,
Rakim,
The Doobie Brothers,
June Days,
The Stooges,
New Age Steppers,
The Modern Lovers,
Camron Feat. Jay Z And Juelz,
B.T. Express,
FM Einheit,
Peter and Kerry,
The Busters,
8 Eyed Spy,
Rufus Thomas,
Anthony Braxton,
Hoover,
Lightning Bolt,
Andrew Ashong & Theo Parrish,
Basic Channel,
The Barracudas,
Eurythmics,
Michelle Simonal,
Curtis Mayfield,
Tomorrow,
The Smiths,
Drive Like Jehu,
Loose Ends,
Marc Romboy vs. Booka Shade,
The Detroit Cobras,
Depeche Mode,
Infiniti,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.