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 Saudi Arabia and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Sao Paulo 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Lindisfarne to the dance 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 Man Parrish. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Yellowson,
Patti Smith,
Symarip,
Visionaries,LMNO, T- Love & Iriscience,
Ken Boothe,
Sugar Minott,
Eric B and Rakim,
Gerry Rafferty,
Erasure,
Pharoah Sanders,
Reuben Wilson,
Qualms,
Sly & The Family Stone,
Moby Grape,
Tres Demented,
The Offenders,
Desert Stars,
The Trojans,
The Moleskins,
Youth Brigade,
Guru Guru,
Ohio Players,
Dennis Brown,
Gang Starr,
Dark Day,
Audionom,
Buzzcocks,
ABBA,
Minnie Riperton,
Thompson Twins,
Q65,
The Human League,
Moss Icon,
Tom Boy,
The Gladiators,
Skriet,
The Smiths,
Eli Mardock,
Roy Ayers Ubiquity,
Altered Images,
Heaven 17,
The Moody Blues,
The New Christs,
Inner City,
Silicon Teens,
Jeru the Damaja,
Saccharine Trust,
Rosa Yemen,
Skaos,
Susan Cadogan,
The Martian,
Jesper Dahlback,
Schoolly D,
Cybotron,
Lebanon Hanover,
Fear,
Maurizio,
Half Japanese,
Ash Ra Tempel,
Kerrie Biddell,
The Slackers,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.