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 Russia and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum 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 Deakin 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 Johnny Osbourne. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Hardrive,
Eric Dolphy,
Peter Gordon & Love of Life Orchestra,
The Neon Judgement,
Rufus Thomas,
Crime,
Bootsy's Rubber Band,
Ronnie Foster,
Index,
World's Most,
Funkadelic,
Boredoms,
Brothers Johnson,
Section 25,
Crash Course in Science,
E-Dancer,
Gil Scott-Heron and Jamie xx,
Little Man,
Glambeats Corp.,
Deadbeat,
Fifty Foot Hose,
Strawberry Alarm Clock,
Manfred Mann's Earth Band,
Rhythm & Sound,
Sandy B,
Pierre Henry,
The Flesh Eaters,
Carl Craig,
Panda Bear,
Eddi Front,
Saccharine Trust,
Rakim,
Vladislav Delay,
Stereo Dub,
Minny Pops,
The Fugs,
Shoche,
Kas Product,
The Residents,
Soft Machine,
Glenn Branca,
kango's stein massive,
Mission of Burma,
Absolute Body Control,
Country Joe & The Fish,
The Human League,
Larry & the Blue Notes,
Gary Puckett & The Union Gap,
The Kinks,
The Doors,
Marcia Griffiths,
The Gun Club,
Robert Görl,
Boz Scaggs,
The Invisible,
Television Personalities,
Jeff Mills,
Slave,
Stockholm Monsters,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.