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 Botswana and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 organ sounds with much patience.
I was there when Robert Palmer 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 Robert Hood to the techno kids.
I played it at Cafe Wha.
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 the Association. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
DeepChord presents Echospace,
Stiv Bators,
Nas,
Dead Boys,
Cecil Taylor,
Grey Daturas,
Ken Boothe,
Cabaret Voltaire,
James Chance & The Contortions,
EPMD,
Jawbox,
Newcleus,
Brick,
Sarah Menescal,
New Age Steppers,
Kerrie Biddell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Crispian St. Peters,
Barbara Tucker,
Quantec,
Cybotron,
Dr. Dre and Snoop Doggy Dog,
The Dirtbombs,
Loose Ends,
Minnie Riperton,
Stereo Dub,
Banda Bassotti,
Television,
MC5,
Joey Negro,
Johnny Osbourne,
The Grass Roots,
Desert Stars,
the Germs,
Niagra,
Scratch Acid,
Fluxion,
Sun Ra Arkestra,
Dark Day,
Eve St. Jones,
Panda Bear,
The Evens,
Radio Birdman,
X-101,
Stetsasonic,
Alphaville,
Magma,
Idris Muhammad,
Darondo,
Blake Baxter,
Joe Finger,
Notorious Big And Bone Thugs,
Sun Ra,
The Five Americans,
The Offenders,
The Fuzztones,
Simply Red,
Model 500,
Sad Lovers and Giants,
The United States of America,
The Associates, The Associates, The Associates, The Associates.
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.