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 Hungary and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1978.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Marvin Gaye to the techno 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 David Axelrod. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Kango’s Stein Massive record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
cv313,
Ituana,
Minor Threat,
Surgeon,
Roy Ayers,
The Knickerbockers,
Oneida,
Scrapy,
Absolute Body Control,
Khruangbin,
Nick Fraelich,
48th St. Collective,
Pierre Henry,
Sonny Sharrock,
The Royal Family And The Poor,
Isaac Hayes,
Young Marble Giants,
The Five Americans,
the Fania All-Stars,
Howard Jones,
Siglo XX,
Gregory Isaacs,
Deepchord,
Fela Kuti,
Judy Mowatt,
The Cowsills,
Von Mondo,
Ultra Naté,
June of 44,
The Fuzztones,
The Beau Brummels,
Robert Görl,
Crash Course in Science,
Bush Tetras,
Index,
Mars,
Johnny Clarke,
Zero Boys,
Morten Harket,
Unwound,
Kaleidoscope,
Todd Rundgren,
Colin Newman,
China Crisis,
Main Source,
The Angels of Light,
Das Ding,
Soft Machine,
The Detroit Cobras,
EPMD,
John Cale,
The Electric Prunes,
Ronan,
The Vogues,
The Motions,
Josef K,
Moebius,
The Tremeloes,
Erasure,
Rhythim Is Rhythim,
CMW,
Rapeman, Rapeman, Rapeman, Rapeman.
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.