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 Burkina and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Accra 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 chamberlin 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 The Sound to the rap kids.
I played it at Trash.
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 Iggy Pop. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 X-102 record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Sound,
The Dead C,
Ice-T,
Visionaries,LMNO, T- Love & Iriscience,
Franke,
Soul Sonic Force,
Roy Ayers,
The Names,
Pole,
Crash Course in Science,
Bobby Byrd,
Crispy Ambulance,
Lucky Dragons,
Mr. Review,
The Angels of Light,
The Kinks,
Vainqueur,
The Fire Engines,
Gang Gang Dance,
Sandy B,
The Cosmic Jokers,
The Remains,
Black Bananas,
U.S. Maple,
Tears for Fears,
John Holt,
Kevin Saunderson,
Red Lorry Yellow Lorry,
Piero Umiliani,
Average White Band,
Faust,
The Knickerbockers,
Mission of Burma,
Super Lover Cee & Casanova Rud,
Malaria!,
D'Angelo,
Khruangbin,
Alphaville,
Eve St. Jones,
Eric B and Rakim,
Bauhaus,
Cal Tjader,
The Durutti Column,
Pierre Henry,
Amon Düül II,
Rosa Yemen,
A Flock of Seagulls,
Magma,
Henry Cow,
The Dirtbombs,
Alice Coltrane,
Monolake,
Notorious BIG live in Amsterdam,
Q and Not U,
ABBA,
The Peanut Butter Conspiracy,
Funky Four + One,
Accadde A,
Ossler, Ossler, Ossler, Ossler.
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.