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 Malawi and from Lagos.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 ABC to the grunge kids.
I played it at the Spitz.
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 Black Flag. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Rekid,
Sound Behaviour,
Nico,
Tom Boy,
Art Ensemble Of Chicago,
The Star Department,
Rotary Connection,
Kool Moe Dee,
Black Pus,
Piero Umiliani,
DeepChord presents Echospace,
June of 44,
Half Japanese,
Anakelly,
Andrew Ashong & Theo Parrish,
Ultramagnetic MC's,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
U.S. Maple,
Gerry Rafferty,
Rhythm & Sound,
New Age Steppers,
Urselle,
Dead Boys,
Bill Near,
Hashim,
Faraquet,
Magazine,
Dark Day,
Tropical Tobacco,
Fear,
Q and Not U,
Man Parrish,
Y Pants,
David Axelrod,
Oppenheimer Analysis,
Cluster,
Nils Olav,
10cc,
Throbbing Gristle,
Hardrive,
Kool G Rap & DJ Polo,
Al Stewart,
Fort Wilson Riot,
Darondo,
Pierre Henry,
The Music Machine,
The Wake,
Stetsasonic,
The Slackers,
Los Fastidios,
The Sonics,
Pantytec,
The Shadows of Knight,
Shoche,
Suicide,
Altered Images,
John Lydon,
Cameo,
cv313,
China Crisis,
CMW, CMW, CMW, CMW.
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.