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 Palau and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Accra 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 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 Mandrill to the rap 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 Spoonie Gee. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Sexual Harrassment,
Sandy B,
Television Personalities,
Kango’s Stein Massive,
Sun Ra,
Joyce Sims,
Accadde A,
Ken Boothe,
Flipper,
JFA,
Electric Light Orchestra,
Excepter,
Barry Ungar,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
The Grass Roots,
Eyeless In Gaza,
The Velvet Underground,
The Doobie Brothers,
Drive Like Jehu,
John Cale,
Theoretical Girls,
Sight & Sound,
Minnie Riperton,
Josef K,
Brass Construction,
The Kinks,
Erasure,
The Doors,
Lou Christie,
Pharoah Sanders,
Bronski Beat,
Alton Ellis,
Amon Düül II,
Crash Course in Science,
Janne Schatter,
Kas Product,
Negative Approach,
ABBA,
Grey Daturas,
Red Lorry Yellow Lorry,
It's A Beautiful Day,
Hashim,
Wire,
Beasts of Bourbon,
Stetsasonic,
Hardrive,
Matthew Bourne,
Ralphi Rosario,
Arcadia,
Jesper Dahlback,
Inner City,
The Blackbyrds,
Peter and Kerry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Motorama,
the Soft Cell,
Nas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Swell Maps,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.