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 Cameroon and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba 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 Rowland S Howard / Lydia Lunch to the dance kids.
I played it at the Roxy.
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 Roy Ayers Ubiquity. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal techno 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 a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Warsaw,
R.M.O.,
Andrew Ashong & Theo Parrish,
Sonny Sharrock,
Nas,
Tommy Roe,
Major Organ And The Adding Machine,
Ajijia Myrayebe,
New Order,
Grauzone,
Lightning Bolt,
Main Source,
Gian Franco Pienzio,
Marcia Griffiths,
Gil Scott-Heron and Jamie xx,
The Peanut Butter Conspiracy,
Skriet,
K-Klass,
Rosa Yemen,
The Angels of Light,
Albert Ayler,
Jandek,
The Dirtbombs,
Spoonie Gee,
Black Bananas,
ABBA,
Essential Logic,
Flash Fearless,
Kayak,
Janne Schatter,
Sällskapet,
Isaac Hayes,
Neu!,
Ralphi Rosario,
Black Moon,
OOIOO,
The Evens,
Bobbi Humphrey,
Colin Newman,
The Stooges,
Nik Kershaw,
Organ,
Boz Scaggs,
The Buckinghams,
Public Enemy,
The Barracudas,
A Flock of Seagulls,
The Neon Judgement,
The Beau Brummels,
Derrick Morgan,
Vainqueur,
London Community Gospel Choir,
Gil Scott Heron,
Matthew Bourne,
A Certain Ratio,
The Monks,
Kings Of Tomorrow,
Gong,
Ronnie Foster,
Donny Hathaway,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.