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 Liberia and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Lagos 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 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 T. Rex to the grime kids.
I played it at the Troubador.
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 Crispian St. Peters. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Girls At Our Best! 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Kerrie Biddell,
Jerry Gold Smith,
Jeff Lynne,
Aswad,
David Axelrod,
Richard Hell and the Voidoids,
Curtis Mayfield,
Todd Rundgren,
Matthew Halsall,
Susan Cadogan,
Lindisfarne,
The Fuzztones,
Eden Ahbez,
Harmonia,
Neu!,
Robert Görl,
Joe Finger,
The Shadows of Knight,
Aural Exciters,
Easy Going,
Moebius,
Eli Mardock,
Bang on a Can All-Stars,
Frankie Knuckles,
The Residents,
The Mummies,
The Walker Brothers,
Radiopuhelimet,
Sticky Fingaz feat. Raekwon,
Saccharine Trust,
a-ha,
Siglo XX,
James White and The Blacks,
Fort Wilson Riot,
Infiniti,
Harry Pussy,
Soul II Soul,
The Associates,
Hashim,
Reagan Youth,
Eddi Front,
Donald Byrd,
Marcia Griffiths,
Peter Gordon & Love of Life Orchestra,
The Skatalites,
D'Angelo,
Country Joe & The Fish,
Youth Brigade,
Electric Prunes,
Graham Central Station,
Ultra Naté,
The Techniques,
Royal Trux,
Kauko Röyhkä ja Narttu,
Connie Case,
Sam Rivers,
Brick,
The Gun Club,
Moss Icon,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.