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 Cape Verde and from Cairo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Heaven 17 to the techno kids.
I played it at the 40 Watt.
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 De La Soul & Jungle Brothers. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every The Stooges 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Flash Fearless,
Pharoah Sanders,
Los Fastidios,
The Barracudas,
Marc Romboy vs. Booka Shade,
The Pretty Things,
Pantaleimon,
Hot Snakes,
Piero Umiliani,
Magazine,
Minnie Riperton,
Angry Samoans,
The Jesus and Mary Chain,
The Kinks,
Jeff Mills,
Althea and Donna,
Mark Hollis,
Model 500,
Livin' Joy,
Gary Puckett & The Union Gap,
Arthur Verocai,
Swell Maps,
John Coltrane,
Neu!,
Clear Light,
Dawn Penn,
Big Daddy Kane,
Mr. Review,
Saccharine Trust,
Joy Division,
Skarface,
Sister Nancy,
Lou Reed & Metallica,
Archie Shepp,
Organ,
The Pop Group,
Subhumans,
KRS-One,
Urselle,
Janne Schatter,
Lebanon Hanover,
Yellowson,
The Last Poets,
Soft Machine,
The Alarm Clocks,
Reagan Youth,
Todd Terry,
kango's stein massive,
Gil Scott Heron,
Beasts of Bourbon,
Harmonia,
The Standells,
The Cramps,
Ponytail,
The Men They Couldn't Hang,
the Normal,
Derrick Morgan,
Altered Images,
The Angels of Light,
A Certain Ratio,
The Vogues,
Flipper, Flipper, Flipper, Flipper.
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.