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 Greece and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Eric B and Rakim to the funk 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 Soft Machine. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Sound,
Accadde A,
Art Ensemble Of Chicago,
Little Man,
Yazoo,
Roger Hodgson,
Jesper Dahlbäck,
Wings,
Soulsonic Force,
Drexciya,
Darondo,
Barry Ungar,
Henry Cow,
Funky Four + One,
La Düsseldorf,
The Fall,
The Slits,
David Axelrod,
The Searchers,
Essential Logic,
Juan Atkins,
The Cure,
FM Einheit,
R.M.O.,
The American Breed,
Toni Rubio,
Rufus Thomas,
Thee Headcoats,
Althea and Donna,
Fluxion,
Sparks,
The Barracudas,
Prince Buster,
The Star Department,
Minny Pops,
Liliput,
Nils Olav,
Peter and Kerry,
The Moody Blues,
Arab on Radar,
Basic Channel,
Warren Ellis,
Nick Fraelich,
48th St. Collective,
Lou Reed & Metallica,
Siglo XX,
Big Daddy Kane,
Oppenheimer Analysis,
Tears for Fears,
Half Japanese,
Mars,
The Cowsills,
Lyres,
Barbara Tucker,
The United States of America,
London Community Gospel Choir,
Scratch Acid,
The Detroit Cobras,
Laurel Aitken,
Kango’s Stein Massive,
Crime,
Teenage Jesus and the Jerks,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.