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 France and from Delhi.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Beijing 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Nik Kershaw to the techno 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 Blancmange. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Divine Comedy 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Lizzy Mercier Descloux,
Cabaret Voltaire,
Cheater Slicks,
Lee Hazlewood,
Panda Bear,
DJ Sneak,
Slick Rick,
The Move,
Orchestral Manoeuvres in the Dark,
Depeche Mode,
Q and Not U,
Jandek,
Nico,
Reuben Wilson,
The Angels of Light,
Bluetip,
Essential Logic,
Neil Young & Crazy Horse,
Avey Tare & Kría Brekkan,
MC5,
Super Lover Cee & Casanova Rud,
Mary Jane Girls,
DeepChord presents Echospace,
The Mummies,
One Last Wish,
Fatback Band,
The Grass Roots,
Bauhaus,
Parry Music,
The Selecter,
Fad Gadget,
F. McDonald,
Nirvana,
Eden Ahbez,
Ralphi Rosario,
Jerry's Kids,
Teenage Jesus and the Jerks,
Fat Boys,
The Detroit Cobras,
The Associates,
U.S. Maple,
Marc Almond,
La Düsseldorf,
Robert Görl,
Black Sheep,
Faust,
Public Image Ltd.,
Eli Mardock,
Jimmy McGriff,
Guru Guru,
Sällskapet,
Franke,
Bizarre Inc.,
The Fuzztones,
Pharoah Sanders,
John Cale,
The Vogues,
Rhythm & Sound,
T.S.O.L.,
The Durutti Column,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.