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 Turkmenistan and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Tokyo 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 808 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 Kevin Saunderson to the rock kids.
I played it at the Crocodile.
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 London Community Gospel Choir. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Teenage Jesus and the Jerks,
Siouxsie and the Banshees,
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
The Wake,
Kool G Rap & DJ Polo,
Fatback Band,
Ash Ra Tempel,
Gil Scott Heron,
Anakelly,
Quadrant,
Bizarre Inc.,
Sun Ra,
Mark Hollis,
Shoche,
the Germs,
MDC,
Graham Central Station,
Royal Trux,
Tim Buckley,
Andrew Hill,
Neil Young & Crazy Horse,
The Motions,
Second Layer,
Agitation Free,
Radiopuhelimet,
Japan,
The Detroit Cobras,
Groovy Waters,
Jimmy McGriff,
Erasure,
Smog,
Chris & Cosey,
Schoolly D,
Sticky Fingaz feat. Raekwon,
The Doobie Brothers,
Neu!,
Alice Coltrane,
The Music Machine,
The Doors,
Freddie Wadling,
Radio Birdman,
Barbara Tucker,
Flipper,
Mars,
KRS-One,
Crash Course in Science,
Scott Walker + Sunn O))),
Tomorrow,
Gang Green,
Amon Düül,
Parry Music,
Duran Duran,
Chrome,
Stereo Dub,
The Stooges,
Aural Exciters,
Gerry Rafferty,
Quantec,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.