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 Lebanon and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Lagos 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 snare 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 Shoche to the crunk kids.
I played it at the Spitz.
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 Martian. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Be Bop Deluxe,
Lindisfarne,
Bang on a Can All-Stars,
The Last Poets,
Pussy Galore,
David McCallum,
Graham Central Station,
Masters at Work,
Art Ensemble Of Chicago,
Gary Puckett & The Union Gap,
Curtis Mayfield,
Qualms,
Neil Young,
Silicon Teens,
Aaron Thompson,
Rapeman,
Steve Hackett,
The Flesh Eaters,
Leonard Cohen,
Marshall Jefferson,
Bootsy's Rubber Band,
Mantronix,
Kayak,
Mark Hollis,
X-101,
The Gap Band,
Jesper Dahlbäck,
Unrelated Segments,
Organ,
James Chance & The Contortions,
Bluetip,
Thompson Twins,
Sex Pistols,
Man Parrish,
The Mighty Diamonds,
Procol Harum,
Ronan,
Davy DMX,
The Barracudas,
Louis and Bebe Barron,
Sister Nancy,
Loose Ends,
The Dead C,
Tears for Fears,
These Immortal Souls,
The Names,
Mo-Dettes,
Monolake,
Hashim,
Trumans Water,
Kango’s Stein Massive,
Pantaleimon,
The Monochrome Set,
the Sonics,
Talk Talk,
Tom Boy,
Von Mondo,
Brand Nubian,
Robert Wyatt,
The Dave Clark Five,
Lakeside,
Peter Gordon & Love of Life Orchestra,
Rakim,
Lower 48, Lower 48, Lower 48, Lower 48.
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.