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 Netherlands and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 10cc 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 Harmonia. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Carl Craig,
Cecil Taylor,
The Fugs,
Half Japanese,
The Kinks,
ABC,
CMW,
Archie Shepp,
Crispy Ambulance,
Bill Near,
Sly & The Family Stone,
Gerry Rafferty,
Vladislav Delay,
Electric Light Orchestra,
Procol Harum,
Lower 48,
The Saints,
Boogie Down Productions,
The Shadows of Knight,
The Victims,
Bang on a Can All-Stars,
Jeru the Damaja,
The Star Department,
John Cale,
Bobby Sherman,
Tropical Tobacco,
Television,
The Five Americans,
Visage,
the Sonics,
Matthew Bourne,
Idris Muhammad,
Depeche Mode,
Alphaville,
Ohio Players,
Mary Jane Girls,
The Standells,
Slave,
Parry Music,
Joy Division,
Radiopuhelimet,
Panda Bear,
Jeff Mills,
Harpers Bizarre,
Masters at Work,
Reagan Youth,
Deakin,
The Golliwogs,
Derrick Morgan,
Lungfish,
Thinking Fellers Union Local 282,
Minnie Riperton,
Prince Buster,
Grandmaster Flash and the Furious Five,
New Age Steppers,
Talk Talk,
Blancmange,
The Litter,
The Doobie Brothers,
Tom Boy,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.