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 Syria and from New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 FM Einheit to the techno kids.
I played it at the Hacienda.
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 Juan Atkins. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
K-Klass,
Flash Fearless,
Porter Ricks,
Lafayette Afro Rock Band,
Goldenarms,
Dual Sessions,
The New Christs,
Public Image Ltd.,
Altered Images,
Thinking Fellers Union Local 282,
Malaria!,
Soft Machine,
Deutsch Amerikanische Freundschaft,
Technova,
Dennis Brown,
Gabor Szabo,
Archie Shepp,
Wally Richardson,
Pete Rock & C.L. Smooth,
Pierre Henry,
Lalann,
Janne Schatter,
Brand Nubian,
Whodini,
Red Lorry Yellow Lorry,
X-102,
Agent Orange,
These Immortal Souls,
Ludus,
Crispian St. Peters,
Vaughan Mason & Crew,
Curtis Mayfield,
The Cowsills,
Terror Squad Feat. Camron,
FM Einheit,
Roger Hodgson,
Ajijia Myrayebe,
Aural Exciters,
Grandmaster Flash and the Furious Five,
Minor Threat,
Mr. Review,
Heaven 17,
Alton Ellis,
Lucky Dragons,
Saccharine Trust,
Smog,
The Associates,
Franke,
The Angels of Light,
CMW,
Albert Ayler,
Circle Jerks,
Boogie Down Productions,
Black Bananas,
Ultravox,
Throbbing Gristle,
The Offenders,
The Gap Band,
Neil Young, Neil Young, Neil Young, Neil Young.
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.