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 Ireland and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Tehran 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Second Layer to the disco 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 Khruangbin. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Television Personalities 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Louis and Bebe Barron,
Danielle Patucci,
Dorothy Ashby,
Sexual Harrassment,
Matthew Bourne,
Sarah Menescal,
Section 25,
The Cure,
The Cramps,
New York Dolls,
Eli Mardock,
The Offenders,
Alphaville,
Prince Buster,
Eric B and Rakim,
John Holt,
Grandmaster Flash,
T.S.O.L.,
Aural Exciters,
Motorama,
Erasure,
Radiohead,
Bang on a Can All-Stars,
Rosa Yemen,
Cal Tjader,
Tom Boy,
KRS-One,
The Music Machine,
Tim Buckley,
Gerry Rafferty,
Monolake,
Harmonia,
Desert Stars,
Frankie Knuckles,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fugazi,
Maurizio,
Skaos,
Gang of Four,
Robert Wyatt,
Gabor Szabo,
Gichy Dan,
Sun Ra Arkestra,
The West Coast Pop Art Experimental Band,
The Moody Blues,
The Doors,
Procol Harum,
Michelle Simonal,
Carl Craig,
Groovy Waters,
Q and Not U,
Howard Jones,
Cecil Taylor,
R.M.O.,
Don Cherry,
Man Parrish,
The Barracudas,
Thinking Fellers Union Local 282,
Quadrant,
The Cosmic Jokers,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.