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 Somalia and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
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 linndrum 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 Barbara Tucker to the techno kids.
I played it at the Spitz.
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 Swell Maps. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal grime 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Alice Coltrane,
Ash Ra Tempel,
Pharaoh Sanders and the Fire Engines,
Jimmy McGriff,
Bad Manners,
Roxette,
Babytalk,
The Offenders,
Ultramagnetic MC's,
Lucky Dragons,
Maurizio,
Public Image Ltd.,
June Days,
Jeff Mills,
Banda Bassotti,
Sun Ra,
Don Cherry,
Girls At Our Best!,
Funkadelic,
Oppenheimer Analysis,
Country Joe & The Fish,
KRS-One,
Moss Icon,
Scott Walker,
Liliput,
Neil Young & Crazy Horse,
The Real Kids,
Man Eating Sloth,
The Doors,
The Sonics,
Laurel Aitken,
Siouxsie and the Banshees,
Trumans Water,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
The Tremeloes,
Unwound,
Make Up,
Grauzone,
Neu!,
Röyhkä ja Rättö ja Lehtisalo,
Malaria!,
The Moody Blues,
Pantytec,
Frankie Knuckles,
Ralphi Rosario,
Wolf Eyes,
Radiohead,
Das Ding,
Derrick Morgan,
X-101,
These Immortal Souls,
The Human League,
Spandau Ballet,
The Remains,
The Leaves,
Reagan Youth,
Cameo,
Jacob Miller,
The Residents, The Residents, The Residents, The Residents.
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.