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 Sierra Leone and from Seoul.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Shanghai 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 harpsichord 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 Boredoms to the electroclash kids.
I played it at the Hacienda.
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 John Coltrane. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Deepchord,
Urselle,
the Bar-Kays,
CMW,
Bill Wells,
AZ,
Tears for Fears,
Sexual Harrassment,
Ronnie Foster,
Robert Wyatt,
Bizarre Inc.,
Sugar Minott,
Subhumans,
Whodini,
Trumans Water,
The Cramps,
Audionom,
The Dave Clark Five,
The New Christs,
Amazonics,
Bronski Beat,
Slick Rick,
Joensuu 1685,
Gang Gang Dance,
Boogie Down Productions,
Flash Fearless,
Public Image Ltd.,
Thinking Fellers Union Local 282,
Brass Construction,
The United States of America,
Bobby Sherman,
Rod Modell,
Sly & The Family Stone,
The Blackbyrds,
Girls At Our Best!,
Mantronix,
Grauzone,
Danielle Patucci,
Yaz,
Notorious Big And Bone Thugs,
Silicon Teens,
The Names,
Mad Mike,
Camouflage,
Glenn Branca,
Amon Düül,
Kerrie Biddell,
Gastr Del Sol,
Lightning Bolt,
Quantec,
Jacques Brel,
Marcia Griffiths,
The Trojans,
Buzzcocks,
The Remains,
FM Einheit,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fela Kuti,
Electric Prunes,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.