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 Maldives and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 theremin 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 Eric B and Rakim to the electroclash kids.
I played it at the Astoria.
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 Electric Light Orchestra. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal jazz 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Roy Ayers Ubiquity,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
Interpol,
Sandy B,
The Velvet Underground,
Mantronix,
Sunsets and Hearts,
Spoonie Gee,
Sonic Youth,
Röyhkä ja Rättö ja Lehtisalo,
Marc Almond,
Monks,
Kerri Chandler,
Funkadelic,
UT,
Clear Light,
Roy Ayers,
Wolf Eyes,
Model 500,
Rotary Connection,
Jacob Miller,
Johnny Osbourne,
Tommy Roe,
DeepChord presents Echospace,
A Flock of Seagulls,
Dark Day,
Sun Ra,
MDC,
Roxette,
The Doobie Brothers,
Robert Wyatt,
Bobby Sherman,
The Fire Engines,
Pantaleimon,
Cecil Taylor,
CMW,
Alison Limerick,
X-Ray Spex,
LL Cool J,
The Cosmic Jokers,
Althea and Donna,
Television,
Thinking Fellers Union Local 282,
Jeff Mills,
The United States of America,
Harmonia,
Blake Baxter,
OOIOO,
Pete Rock & C.L. Smooth,
Black Bananas,
Outsiders,
Grey Daturas,
Public Enemy,
The Walker Brothers,
H. Thieme,
Kauko Röyhkä ja Narttu,
The Sisters of Mercy,
Sällskapet,
Con Funk Shun,
The Blackbyrds,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.