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 Serbia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Cairo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Stereo Dub to the techno 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 Massinfluence. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Graham Central Station 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Oblivians,
The Trojans,
Derrick Morgan,
Throbbing Gristle,
Severed Heads,
Essential Logic,
Strawberry Alarm Clock,
John Lydon,
Fort Wilson Riot,
The Music Machine,
Yaz,
Boz Scaggs,
The Cramps,
Siglo XX,
Moebius,
Deadbeat,
The West Coast Pop Art Experimental Band,
The Sound,
The Names,
KRS-One,
Wings,
Traffic Nightmare,
Ronan,
Charles Mingus,
Heavy D & The Boyz,
Electric Light Orchestra,
Cymande,
Jeff Mills,
Liaisons Dangereuses,
U.S. Maple,
Nas,
Warren Ellis,
Pete Rock & C.L. Smooth,
The Black Dice,
Black Pus,
Mr. Review,
Cameo,
The Busters,
Ultra Naté,
Organ,
Man Parrish,
Man Eating Sloth,
Tubeway Army,
Piero Umiliani,
Joy Division,
Bronski Beat,
The Blackbyrds,
Lou Christie,
Peter Gordon & Love of Life Orchestra,
Rhythim Is Rhythim,
Black Bananas,
Quando Quango,
D'Angelo,
Pole,
Crooked Eye,
Barbara Tucker,
Fat Boys,
Jesper Dahlbäck,
Grandmaster Flash,
The Blues Magoos,
The Raincoats,
The Happenings,
Darondo, Darondo, Darondo, Darondo.
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.