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 Ivory Coast and from Taipei.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Manchester 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 UT to the punk kids.
I played it at Cafe Wha.
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 Quando Quango. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Warsaw,
Gregory Isaacs,
Stetsasonic,
Hoover,
Bootsy's Rubber Band,
Gary Puckett & The Union Gap,
The Zeros,
Tim Buckley,
Popol Vuh,
Notorious BIG live in Amsterdam,
In Retrospect,
Nas,
The Remains,
Avey Tare's Slasher Flicks,
The Toasters,
Jeru the Damaja,
Aural Exciters,
Soul Sonic Force,
Lonnie Liston Smith,
Eurythmics,
Terrestrial Tones,
Lou Christie,
Todd Terry,
F. McDonald,
PIL,
Silicon Teens,
Buzzcocks,
Gerry Rafferty,
48th St. Collective,
10cc,
Darondo,
Make Up,
Kool G Rap & DJ Polo,
Erykah Badu,
Audionom,
Crime,
Ajijia Myrayebe,
the Germs,
Roy Ayers Ubiquity,
Cheater Slicks,
Echospace,
Throbbing Gristle,
Sugar Minott,
Lalann,
The Peanut Butter Conspiracy,
Nation of Ulysses,
Qualms,
Slick Rick,
The Standells,
Dual Sessions,
Gil Scott Heron,
Colin Newman,
the Human League,
Unwound,
The Star Department,
Kayak,
Sandy B,
Harmonia,
Ultra Naté,
Urselle, Urselle, Urselle, Urselle.
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.