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 Liechtenstein and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Robert Palmer 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 Bobby Hutcherson to the rap kids.
I played it at CBGB's.
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 Normal. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Lyres,
Cal Tjader,
Gil Scott-Heron and Jamie xx,
The Victims,
Quadrant,
Be Bop Deluxe,
Peter Gordon & Love of Life Orchestra,
Harmonia,
Cymande,
H. Thieme,
Kaleidoscope,
Barry Ungar,
Thinking Fellers Union Local 282,
Accadde A,
Pete Rock & C.L. Smooth,
The Doobie Brothers,
Liaisons Dangereuses,
Brand Nubian,
Newcleus,
Fort Wilson Riot,
The Walker Brothers,
Graham Central Station,
David Axelrod,
Magazine,
a-ha,
Connie Case,
Gil Scott-Heron & Brian Jackson,
Rhythm & Sound,
Bluetip,
Boz Scaggs,
The Gladiators,
Marc Romboy vs. Booka Shade,
Junior Murvin,
Marine Girls,
Quantec,
Animal Collective,
Ludus,
Au Pairs,
Audionom,
The Techniques,
X-Ray Spex,
Gerry Rafferty,
The Durutti Column,
China Crisis,
Toni Rubio,
Patti Smith,
Lebanon Hanover,
A Certain Ratio,
Unwound,
Eric Copeland,
Isaac Hayes,
The Young Rascals,
Hot Snakes,
Mad Mike,
Terrestrial Tones,
Throbbing Gristle,
The United States of America,
Steve Hackett,
Mars,
The Kinks,
Selector Dub Narcotic,
Franke, Franke, Franke, Franke.
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.