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 Madagascar and from Bologna.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when David Bowie 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 Anthony Braxton to the jazz kids.
I played it at the Roxy.
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 Kool Moe Dee. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Whodini 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
The Litter,
Soft Machine,
Jeru the Damaja,
Delon & Dalcan,
The Doors,
Josef K,
Lou Reed & John Cale,
Cybotron,
The Doobie Brothers,
Fela Kuti,
Joey Negro,
Eyeless In Gaza,
Rekid,
Bauhaus,
Fad Gadget,
Procol Harum,
Jimmy McGriff,
Visionaries,LMNO, T- Love & Iriscience,
The Knickerbockers,
Tropical Tobacco,
Sly & The Family Stone,
Blancmange,
Jawbox,
Metal Thangz,
Bad Manners,
Reagan Youth,
Con Funk Shun,
Brothers Johnson,
Adolescents,
Sight & Sound,
Yusef Lateef,
Nas,
Rod Modell,
Moss Icon,
Susan Cadogan,
The Leaves,
K-Klass,
Guru Guru,
Bobby Hutcherson,
Babytalk,
Lebanon Hanover,
The Monochrome Set,
The Trojans,
Tubeway Army,
Oneida,
Simply Red,
Sad Lovers and Giants,
Ornette Coleman,
Ohio Players,
The Birthday Party,
Notorious Big And Bone Thugs,
Eric Copeland,
Spandau Ballet,
The Divine Comedy,
The Black Dice,
Art Ensemble Of Chicago,
The Chocolate Watch Band,
The Red Krayola,
China Crisis,
Visage,
Morten Harket,
A Flock of Seagulls,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.