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 France and from Manila.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school London 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 Robert Palmer 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 Nas to the punk kids.
I played it at the Spitz.
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 Roy Ayers tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Fort Wilson Riot,
Rowland S Howard / Lydia Lunch,
Second Layer,
Todd Terry,
the Association,
Man Eating Sloth,
Robert Hood,
the Soft Cell,
X-Ray Spex,
Gang of Four,
Frankie Knuckles,
Tom Boy,
Erasure,
Ronan,
Black Pus,
Zapp,
Panda Bear,
Pharoah Sanders,
Max Romeo,
Soul II Soul,
John Cale,
Pussy Galore,
The Pop Group,
Ponytail,
Mantronix,
The Walker Brothers,
Harpers Bizarre,
Can,
Slave,
Inner City,
Vaughan Mason & Crew,
Siouxsie and the Banshees,
The Sisters of Mercy,
Avey Tare & Kría Brekkan,
The Wake,
Gastr Del Sol,
The Black Dice,
The Invisible,
Arthur Verocai,
Orchestral Manoeuvres in the Dark,
X-102,
The Dirtbombs,
Magazine,
Unwound,
Ice-T,
The Slackers,
The Golliwogs,
Tears for Fears,
Marshall Jefferson,
Liaisons Dangereuses,
Archie Shepp,
Joe Smooth,
The Durutti Column,
Khruangbin,
Todd Rundgren,
DJ Sneak,
The Index,
Das Ding,
a-ha,
Accadde A,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.