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 Djibouti and from Lyon.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Fort Wilson Riot to the jazz kids.
I played it at the Roxy.
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 Minor Threat. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
The Slits,
Desert Stars,
Neu!,
Sad Lovers and Giants,
Au Pairs,
Kerrie Biddell,
The Tremeloes,
Grandmaster Flash and the Furious Five,
Porter Ricks,
Roger Hodgson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
H. Thieme,
Hot Snakes,
Thee Headcoats,
DJ Style,
FM Einheit,
Marshall Jefferson,
Scan 7,
Soft Cell,
China Crisis,
Joey Negro,
Janne Schatter,
Bizarre Inc.,
Ten City,
Eric Dolphy,
John Cale,
Fort Wilson Riot,
ABC,
The West Coast Pop Art Experimental Band,
Ornette Coleman,
Rapeman,
Matthew Halsall,
The Litter,
Charles Mingus,
Lower 48,
Pylon,
Connie Case,
Nico,
Motorama,
The Pop Group,
Carl Craig,
Amon Düül,
Gerry Rafferty,
The Young Rascals,
Neil Young & Crazy Horse,
Isaac Hayes,
Cecil Taylor,
Metal Thangz,
James Chance & The Contortions,
Girls At Our Best!,
Urselle,
Gian Franco Pienzio,
Pantytec,
Vaughan Mason & Crew,
Wire,
Bobbi Humphrey,
Subhumans,
Masters at Work,
Procol Harum,
Deakin, Deakin, Deakin, Deakin.
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.