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 Equatorial Guinea and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the grime kids.
I played it at the Troubador.
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 Urselle. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Tom Boy,
Donny Hathaway,
Gian Franco Pienzio,
Bobby Womack,
Aural Exciters,
Lebanon Hanover,
The Smoke,
Rhythim Is Rhythim,
Dorothy Ashby,
Gregory Isaacs,
Terrestrial Tones,
Slick Rick,
the Fania All-Stars,
Moss Icon,
Zapp,
Marcia Griffiths,
Angels of Light & Akron/Family,
Charles Mingus,
The Golliwogs,
Todd Terry,
Sparks,
Ituana,
Khruangbin,
David Axelrod,
Public Image Ltd.,
Pylon,
The Wake,
Boz Scaggs,
Godley & Creme,
Yazoo,
Masters at Work,
Eden Ahbez,
Radio Birdman,
Nik Kershaw,
The West Coast Pop Art Experimental Band,
The Count Five,
The Leaves,
48th St. Collective,
The Litter,
Magma,
Max Romeo,
X-102,
Bill Wells,
UT,
The Moleskins,
T.S.O.L.,
Flipper,
Severed Heads,
Echospace,
The Toasters,
Arab on Radar,
Deepchord,
DJ Style,
Brass Construction,
Ajijia Myrayebe,
Kas Product,
F. McDonald,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.