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 United Kingdom and from Shanghai.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Halifax and Taipei.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Joe Finger to the techno kids.
I played it at Trash.
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 Kenny Larkin. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Deadbeat 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Guru Guru,
Fela Kuti,
The Evens,
Icehouse,
The Smoke,
the Fania All-Stars,
Deakin,
The Sonics,
Sandy B,
Marshall Jefferson,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash,
EPMD,
The Smiths,
Cabaret Voltaire,
The Golliwogs,
Rhythim Is Rhythim,
Wings,
The Fire Engines,
The Fugs,
The West Coast Pop Art Experimental Band,
One Last Wish,
Parry Music,
Robert Görl,
Groovy Waters,
Aural Exciters,
Mission of Burma,
Japan,
X-102,
Derrick May,
Joensuu 1685,
Y Pants,
Pantaleimon,
The Black Dice,
Spandau Ballet,
China Crisis,
Surgeon,
JFA,
Slave,
Gong,
The Divine Comedy,
Los Fastidios,
Porter Ricks,
Joe Smooth,
Roy Ayers,
Ponytail,
D'Angelo,
Roy Ayers Ubiquity,
Monks,
Wire,
Ash Ra Tempel,
Sällskapet,
Soft Cell,
Thompson Twins,
Rakim,
Main Source,
Amon Düül,
Major Organ And The Adding Machine,
The Blackbyrds,
The Skatalites,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.