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 Rwanda and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 The Gap Band to the grunge kids.
I played it at the Crocodile.
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 Kurtis Blow. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ten City 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?
June of 44,
Art Ensemble Of Chicago,
Kings Of Tomorrow,
Larry & the Blue Notes,
U.S. Maple,
Funky Four + One,
Piero Umiliani,
Tropical Tobacco,
Bootsy Collins,
June Days,
The Wake,
Susan Cadogan,
Eric Copeland,
Franke,
Harpers Bizarre,
Gang Gang Dance,
Lizzy Mercier Descloux,
The Electric Prunes,
Tommy Roe,
Mission of Burma,
Sam Rivers,
Kool G Rap & DJ Polo,
DJ Style,
Shuggie Otis,
The J.B.'s,
Pharoah Sanders,
Roger Hodgson,
Negative Approach,
Lou Reed & John Cale,
Robert Hood,
Ronnie Foster,
Junior Murvin,
Surgeon,
The Jesus and Mary Chain,
Neil Young,
Malaria!,
The Fugs,
Los Fastidios,
Angels of Light & Akron/Family,
Marine Girls,
Glambeats Corp.,
The Busters,
Camouflage,
Curtis Mayfield,
The Gun Club,
The Human League,
Crispian St. Peters,
Groovy Waters,
Sunsets and Hearts,
Das Ding,
Gregory Isaacs,
Bill Near,
Harry Pussy,
Thompson Twins,
Pete Rock & C.L. Smooth,
The Black Dice,
Gabor Szabo,
Deepchord,
Cameo,
Gil Scott-Heron and Jamie xx,
John Cale,
Blancmange, Blancmange, Blancmange, Blancmange.
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.