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 Netherlands and from Manila.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Spandau Ballet to the dance kids.
I played it at the Astoria.
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 Brothers Johnson. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Alison Limerick 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Kool G Rap & DJ Polo,
Soul II Soul,
The Wake,
Minor Threat,
New Order,
Johnny Clarke,
Nils Olav,
Pantaleimon,
Skriet,
Derrick Morgan,
Rosa Yemen,
Aaron Thompson,
The Pretty Things,
Spoonie Gee,
The Mummies,
Bootsy Collins,
Deadbeat,
Fort Wilson Riot,
Magma,
Eurythmics,
Joyce Sims,
UT,
the Association,
Jimmy McGriff,
The Trojans,
Gil Scott Heron,
Television,
Mad Mike,
John Coltrane,
Ajijia Myrayebe,
Tres Demented,
Shuggie Otis,
Carl Craig,
Echo & the Bunnymen,
Japan,
The American Breed,
Magazine,
Parry Music,
Bobbi Humphrey,
Saccharine Trust,
Terrestrial Tones,
Second Layer,
Kings Of Tomorrow,
Maurizio,
Jerry's Kids,
Lou Reed & Metallica,
Neil Young & Crazy Horse,
DJ Style,
The Divine Comedy,
The Fuzztones,
The Kinks,
Drive Like Jehu,
Moby Grape,
Wally Richardson,
Sunsets and Hearts,
Beasts of Bourbon,
The Blues Magoos,
Zero Boys,
Angry Samoans,
D'Angelo,
Roxette,
Echospace, Echospace, Echospace, Echospace.
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.