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 Saudi Arabia and from Taipei.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Lagos 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 Selda practice in a loft in Istanbul.
I was working on the guitar 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 Ronnie Foster to the dance kids.
I played it at the Troubador.
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 Boz Scaggs. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Jeru the Damaja,
The Mighty Diamonds,
Electric Light Orchestra,
Metal Thangz,
Stetsasonic,
Kaleidoscope,
The Evens,
Liaisons Dangereuses,
James Chance & The Contortions,
Stiv Bators,
Gil Scott-Heron and Jamie xx,
R.M.O.,
ABC,
Lonnie Liston Smith,
The Martian,
Malaria!,
Yaz,
Groovy Waters,
John Holt,
Archie Shepp,
Beasts of Bourbon,
Parry Music,
Royal Trux,
The Electric Prunes,
Scan 7,
The Names,
Darondo,
Vainqueur,
PIL,
Camberwell Now,
The Fall,
Faraquet,
One Last Wish,
Boogie Down Productions,
Heaven 17,
Donny Hathaway,
Wolf Eyes,
The Move,
Harpers Bizarre,
the Human League,
Blake Baxter,
Kevin Saunderson,
Ash Ra Tempel,
Bobby Sherman,
Marvin Gaye,
Robert Hood,
Jeff Mills,
Crash Course in Science,
JFA,
Terrestrial Tones,
Black Pus,
Lalann,
Kauko Röyhkä ja Narttu,
Outsiders,
Rosa Yemen,
Girls At Our Best!,
Main Source,
Sun City Girls,
The Knickerbockers,
Fugazi,
Slave,
Section 25, Section 25, Section 25, Section 25.
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.