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 Uruguay and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Lyon 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 Donald Fagen 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 Gil Scott Heron to the disco kids.
I played it at the Roxy.
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 Crime. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal electroclash 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 a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Andrew Hill,
JFA,
Super Lover Cee & Casanova Rud,
Public Image Ltd.,
kango's stein massive,
Ohio Players,
Gregory Isaacs,
Sun Ra,
Charles Mingus,
Glambeats Corp.,
The American Breed,
Harpers Bizarre,
Aloha Tigers,
Darondo,
Yazoo,
Audionom,
Derrick Morgan,
The Skatalites,
Index,
Absolute Body Control,
Rakim,
Intrusion,
Susan Cadogan,
Ultramagnetic MC's,
David Bowie,
Colin Newman,
Pylon,
Terrestrial Tones,
Gian Franco Pienzio,
The Evens,
De La Soul & Jungle Brothers,
The Peanut Butter Conspiracy,
Hashim,
The Trojans,
Sun City Girls,
Josef K,
Section 25,
Aaron Thompson,
Gang of Four,
Scott Walker,
Yaz,
Urselle,
Selector Dub Narcotic,
The Busters,
Vladislav Delay,
Joey Negro,
Wire,
Depeche Mode,
DJ Sneak,
Tomorrow,
Peter and Kerry,
The Blues Magoos,
Nik Kershaw,
Parry Music,
In Retrospect,
Mantronix,
Anthony Braxton,
Magazine,
Major Organ And The Adding Machine,
Siglo XX,
Minutemen, Minutemen, Minutemen, Minutemen.
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.