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 Solomon Islands and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Gil Scott-Heron and Jamie xx to the rap 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 The Black Dice. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Wally Richardson,
Davy DMX,
Qualms,
H. Thieme,
Ken Boothe,
Amon Düül,
Yazoo,
Roy Ayers Ubiquity,
Public Image Ltd.,
Camouflage,
Lizzy Mercier Descloux,
The Selecter,
Sixth Finger,
Hasil Adkins,
Kurtis Blow,
Massinfluence,
Guru Guru,
Gary Puckett & The Union Gap,
Tom Boy,
Skarface,
Boogie Down Productions,
Warren Ellis,
Sight & Sound,
The Golliwogs,
Yusef Lateef,
The Beau Brummels,
John Foxx,
Loose Ends,
Electric Light Orchestra,
Warsaw,
The Kinks,
Marc Romboy vs. Booka Shade,
The Motions,
Visage,
Lower 48,
Agent Orange,
Theoretical Girls,
Second Layer,
The Barracudas,
Black Flag,
Robert Görl,
The Doobie Brothers,
The Vogues,
Art Ensemble Of Chicago,
La Düsseldorf,
K-Klass,
The Seeds,
Anthony Braxton,
Eric Dolphy,
Country Teasers,
Janne Schatter,
The Grass Roots,
Saccharine Trust,
Idris Muhammad,
Surgeon,
The Dirtbombs,
Aural Exciters,
Fad Gadget,
Black Sheep,
Delta 5,
the Normal, the Normal, the Normal, the Normal.
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.