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 Suriname and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Mumbai.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Charles Mingus to the funk kids.
I played it at the Crocodile.
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 Barrington Levy. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Radio Birdman,
Slick Rick,
the Association,
Newcleus,
Lindisfarne,
Don Cherry,
The Fire Engines,
Kevin Saunderson,
Soulsonic Force,
Ten City,
The Doobie Brothers,
Sly & The Family Stone,
Arab on Radar,
Scratch Acid,
The Electric Prunes,
The Smiths,
Drive Like Jehu,
Lyres,
Colin Newman,
N.O.R.E. Featuring Pharrell,
Louis and Bebe Barron,
Second Layer,
Howard Jones,
Bobby Byrd,
Soft Machine,
Cameo,
Quadrant,
Rakim,
Magazine,
JFA,
Liaisons Dangereuses,
UT,
Guru Guru,
Jimmy McGriff,
The Blackbyrds,
Sound Behaviour,
Marshall Jefferson,
Laurel Aitken,
Average White Band,
Pharoah Sanders,
The Cure,
FM Einheit,
Sun Ra Arkestra,
Marc Romboy vs. Booka Shade,
Lonnie Liston Smith,
Bauhaus,
Beasts of Bourbon,
Funky Four + One,
Suicide,
Rekid,
Iggy Pop,
Vaughan Mason & Crew,
Skaos,
Alice Coltrane,
Boredoms,
Ash Ra Tempel,
Jerry Gold Smith,
Pulsallama,
Simply Red,
Eurythmics,
Maurizio,
Dark Day,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.