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 Hungary and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Toronto 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 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 Junior Murvin to the rap kids.
I played it at Cafe Wha.
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 Mary Jane Girls. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Piero Umiliani,
Mr. Review,
K-Klass,
Jeru the Damaja,
Crooked Eye,
Blake Baxter,
Boogie Down Productions,
Colin Newman,
Eyeless In Gaza,
The Walker Brothers,
Negative Approach,
Rowland S Howard / Lydia Lunch,
Crime,
Warren Ellis,
the Swans,
Silicon Teens,
Interpol,
the Fania All-Stars,
Laurel Aitken,
Black Sheep,
Maleditus Sound,
Rufus Thomas,
The Grass Roots,
the Soft Cell,
Nirvana,
JFA,
Joyce Sims,
This Heat,
The Dave Clark Five,
Lucky Dragons,
Quantec,
Public Enemy,
The Barracudas,
Stiv Bators,
The Index,
Amon Düül,
Eve St. Jones,
Deakin,
Barry Ungar,
Robert Görl,
Dual Sessions,
Lebanon Hanover,
The Smoke,
Peter & Gordon,
Gong,
Bobbi Humphrey,
Angry Samoans,
Sam Rivers,
Roy Ayers Ubiquity,
Pole,
Dave Gahan,
Gian Franco Pienzio,
Guru Guru,
The Red Krayola,
The Star Department,
Tears for Fears,
Soft Machine,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
R.M.O.,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.