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 Cairo.
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 Woodstock and Columbus.
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 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 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 Cymande 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 Mars. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every JFA 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 '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Pharaoh Sanders and the Fire Engines,
KRS-One,
Spandau Ballet,
Soulsonic Force,
Cal Tjader,
Rufus Thomas,
Gil Scott-Heron & Brian Jackson,
Connie Case,
Freddie Wadling,
Spoonie Gee,
ABC,
The Tremeloes,
Little Man,
Roger Hodgson,
Aural Exciters,
Reuben Wilson,
Minor Threat,
La Düsseldorf,
Rhythim Is Rhythim,
Marc Romboy vs. Booka Shade,
Monolake,
Country Teasers,
Moebius,
Gian Franco Pienzio,
Gang Starr,
Oppenheimer Analysis,
Jawbox,
Kas Product,
Ornette Coleman,
JFA,
Sight & Sound,
Bronski Beat,
The Gun Club,
DJ Style,
Fifty Foot Hose,
Idris Muhammad,
The Count Five,
Marvin Gaye,
Marshall Jefferson,
Lalo Schifrin,
Guru Guru,
Darondo,
The Velvet Underground,
Pole,
Big Daddy Kane,
The Men They Couldn't Hang,
The Fuzztones,
DNA,
Make Up,
Ten City,
B.T. Express,
The Invisible,
Yellowson,
The Star Department,
Teenage Jesus and the Jerks,
Los Fastidios,
Rod Modell,
Arab on Radar,
The West Coast Pop Art Experimental Band,
Carl Craig,
Godley & Creme,
Wings,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.