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 Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Little Man to the funk 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 The Electric Prunes. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Reagan Youth 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Black Flag,
Louis and Bebe Barron,
Oneida,
Vainqueur,
Delon & Dalcan,
Technova,
Slave,
Ponytail,
Ken Boothe,
the Association,
Thompson Twins,
D'Angelo,
Fort Wilson Riot,
Nas,
Yusef Lateef,
Soul Sonic Force,
It's A Beautiful Day,
Pussy Galore,
Outsiders,
Beasts of Bourbon,
Dark Day,
Nico,
Magazine,
The Pop Group,
The Fuzztones,
Graham Central Station,
Moebius,
Subhumans,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gary Puckett & The Union Gap,
Flash Fearless,
Curtis Mayfield,
The Blackbyrds,
The Jesus and Mary Chain,
Grey Daturas,
The Evens,
The Slits,
ABC,
Lizzy Mercier Descloux,
Con Funk Shun,
Rufus Thomas,
Marcia Griffiths,
Quando Quango,
Niagra,
Severed Heads,
the Germs,
Neil Young,
The Sound,
Jerry Gold Smith,
The Move,
Crash Course in Science,
The Young Rascals,
Be Bop Deluxe,
Unrelated Segments,
Q65,
Eden Ahbez,
Moss Icon,
The Smiths,
FM Einheit,
World's Most,
Grandmaster Flash and the Furious Five,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.