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 Seychelles and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Salvador 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 organ sounds with much patience.
I was there when Michael McDonald 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 DJ Style to the crunk kids.
I played it at Cafe Wha.
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 Bar-Kays. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Sonny Sharrock 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
The Electric Prunes,
Isaac Hayes,
Alphaville,
Accadde A,
Aloha Tigers,
Jimmy McGriff,
Ossler,
Grandmaster Flash and the Furious Five,
Amazonics,
Kurtis Blow,
Subhumans,
AZ,
Ken Boothe,
Visionaries,LMNO, T- Love & Iriscience,
Clear Light,
Pete Rock & C.L. Smooth,
Be Bop Deluxe,
The Standells,
Scan 7,
Bob Dylan,
Boredoms,
Gil Scott-Heron and Jamie xx,
Sun City Girls,
Piero Umiliani,
Siglo XX,
FM Einheit,
The Move,
Talk Talk,
The New Christs,
Con Funk Shun,
Morten Harket,
cv313,
Qualms,
Sandy B,
Hasil Adkins,
CMW,
Deadbeat,
Grandmaster Flash,
Second Layer,
Minnie Riperton,
Susan Cadogan,
Intrusion,
Letta Mbulu,
Stetsasonic,
The Doors,
Warsaw,
Jesper Dahlbäck,
The Residents,
Make Up,
Rowland S Howard / Lydia Lunch,
Goldenarms,
Scott Walker,
Wally Richardson,
Josef K,
Kerri Chandler,
Magma,
John Lydon,
The Cramps,
Jeff Mills,
Suicide,
The Offenders, The Offenders, The Offenders, The Offenders.
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.