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 Palau and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Paris and Taipei.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash to the punk kids.
I played it at the 40 Watt.
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 Harpers Bizarre. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every The Star Department 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Girls At Our Best!,
Aswad,
Dorothy Ashby,
Duran Duran,
Organ,
The Mummies,
Tomorrow,
The Kinks,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Main Source,
Larry & the Blue Notes,
Faust,
Adolescents,
Kauko Röyhkä ja Narttu,
The Fuzztones,
The Cowsills,
Strawberry Alarm Clock,
Lungfish,
Anakelly,
Bob Dylan,
The Fugs,
Dead Boys,
Nirvana,
Avey Tare & Kría Brekkan,
Letta Mbulu,
Rapeman,
the Bar-Kays,
The Invisible,
The Motions,
Schoolly D,
Rahsaan Roland Kirk,
The Blues Magoos,
The Walker Brothers,
Aural Exciters,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Jimmy McGriff,
Justin Hinds & The Dominoes,
Suburban Knight,
The Chocolate Watch Band,
Rosa Yemen,
Second Layer,
The Gories,
The Evens,
Pole,
Traffic Nightmare,
Country Joe & The Fish,
Bluetip,
Altered Images,
Dark Day,
Ornette Coleman,
Sex Pistols,
Mandrill,
Avey Tare,
Todd Rundgren,
Marmalade,
Sad Lovers and Giants,
Boz Scaggs,
Trumans Water,
Jeff Lynne,
The Doors,
Jacques Brel,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.