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 Comoros and from Copenhagen.
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 1960 to 1970.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Portland 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 oboe sounds with much patience.
I was there when Lou Reed 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 The Red Krayola to the punk 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 Laurel Aitken. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Carl Craig,
DJ Sneak,
Rufus Thomas,
The Raincoats,
Gastr Del Sol,
Duran Duran,
Judy Mowatt,
Jeru the Damaja,
KRS-One,
EPMD,
Guru Guru,
The Black Dice,
Sexual Harrassment,
Public Image Ltd.,
Boogie Down Productions,
Tomorrow,
Brass Construction,
Man Parrish,
Moss Icon,
T.S.O.L.,
The New Christs,
Oblivians,
The Velvet Underground,
Gary Puckett & The Union Gap,
Rhythm & Sound,
Lou Christie,
The Doobie Brothers,
Malaria!,
Con Funk Shun,
One Last Wish,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
Fela Kuti,
the Fania All-Stars,
Marcia Griffiths,
Sun City Girls,
Rod Modell,
Avey Tare,
Barclay James Harvest,
John Foxx,
Brothers Johnson,
a-ha,
Ponytail,
The Smoke,
The Last Poets,
The Blackbyrds,
Pierre Henry,
Sound Behaviour,
Pharaoh Sanders and the Fire Engines,
The Tremeloes,
The Monks,
The Cure,
Dark Day,
Kurtis Blow,
Liaisons Dangereuses,
Soft Cell,
Kerrie Biddell,
The Index,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.