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 Oman and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Bologna 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 rhodes 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 Piero Umiliani to the funk kids.
I played it at CBGB's.
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 The Fuzztones. All the underground hits.
All Magma tracks. I heard you have a vinyl of every The Dead C 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 '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Susan Cadogan,
Pharaoh Sanders and the Fire Engines,
Smog,
World's Most,
Bang On A Can,
Pylon,
Arcadia,
Metal Thangz,
Eve St. Jones,
Nils Olav,
The West Coast Pop Art Experimental Band,
Aaron Thompson,
The Barracudas,
D'Angelo,
Mantronix,
Maleditus Sound,
London Community Gospel Choir,
Babytalk,
The Alarm Clocks,
Dead Boys,
Lou Reed & John Cale,
UT,
Sonny Sharrock,
The Dave Clark Five,
Saccharine Trust,
The Beau Brummels,
Marshall Jefferson,
A Certain Ratio,
Sister Nancy,
Minny Pops,
The Kinks,
Popol Vuh,
Nation of Ulysses,
Crispian St. Peters,
Country Teasers,
The Walker Brothers,
Rahsaan Roland Kirk,
The Royal Family And The Poor,
Jeru the Damaja,
Notorious Big And Bone Thugs,
The Mummies,
Sällskapet,
Bobby Byrd,
Bauhaus,
Pharoah Sanders,
China Crisis,
Freddie Wadling,
Nirvana,
Matthew Halsall,
Stereo Dub,
Arab on Radar,
Motorama,
Electric Light Orchestra,
The Remains,
Heavy D & The Boyz,
Buzzcocks,
Pole, Pole, Pole, Pole.
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.