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 Guinea-Bissau and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1975.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
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 harpsichord 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 Crash Course in Science to the jazz 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 Jeru the Damaja. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every the Slits 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 '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry 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?
Charles Mingus,
The Saints,
Jesper Dahlback,
Joy Division,
The Toasters,
La Düsseldorf,
Brass Construction,
New Age Steppers,
Spandau Ballet,
Nick Cave & The Bad Seeds,
Suburban Knight,
Tom Boy,
The Mummies,
Monolake,
Pete Rock & C.L. Smooth,
EPMD,
Morten Harket,
John Foxx,
Joyce Sims,
The Five Americans,
Yaz,
Whodini,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
Rhythim Is Rhythim,
Model 500,
Black Pus,
Notorious Big And Bone Thugs,
Jeru the Damaja,
Be Bop Deluxe,
Patti Smith,
Wally Richardson,
Alphaville,
The Skatalites,
Alton Ellis,
One Last Wish,
The Raincoats,
Peter and Kerry,
Lebanon Hanover,
The Royal Family And The Poor,
Index,
T.S.O.L.,
Pierre Henry,
The Remains,
Warren Ellis,
Chris Corsano,
X-102,
Lucky Dragons,
Niagra,
Masters at Work,
Derrick Morgan,
Terrestrial Tones,
Second Layer,
Vladislav Delay,
The Red Krayola,
Joe Smooth,
Pagans,
Grey Daturas,
Eric Copeland,
Sexual Harrassment,
Lightning Bolt,
David Axelrod,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.