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 1976.
I was there at the first Chic show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 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 The Grass Roots to the dance kids.
I played it at Trash.
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 Danielle Patucci. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Eyeless In Gaza,
Boogie Down Productions,
Soft Machine,
John Coltrane,
B.T. Express,
Supertramp,
Girls At Our Best!,
Visage,
Godley & Creme,
Josef K,
Soft Cell,
The Litter,
Boz Scaggs,
Pole,
Juan Atkins,
Symarip,
The Selecter,
Adolescents,
Technova,
Terrestrial Tones,
The Mummies,
Echospace,
Faraquet,
The Music Machine,
Warren Ellis,
Sparks,
Delta 5,
Sound Behaviour,
Bootsy Collins,
The Sound,
Spandau Ballet,
Tubeway Army,
Ultra Naté,
Deakin,
World's Most,
cv313,
Quando Quango,
The Tremeloes,
The Fugs,
Animal Collective,
Oblivians,
Johnny Osbourne,
Simply Red,
Harpers Bizarre,
The Beau Brummels,
Suicide,
Public Enemy,
Bauhaus,
Bootsy's Rubber Band,
Gang Starr,
Donald Byrd,
Althea and Donna,
Excepter,
A Certain Ratio,
Tomorrow,
The Monks,
Alison Limerick,
Be Bop Deluxe,
the Association,
Roxy Music,
The Zeros,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.