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 United States 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 1963 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Halifax 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 1980 at the first Cybotron practice in a loft in Detroit.
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 Bobby Womack to the crunk 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 Qualms. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Ponytail,
Derrick May,
Q65,
Letta Mbulu,
Stiv Bators,
Pylon,
Gil Scott-Heron & Brian Jackson,
DJ Sneak,
the Fania All-Stars,
Groovy Waters,
Lou Reed & John Cale,
The Leaves,
Hoover,
Television Personalities,
Shoche,
Malaria!,
Ornette Coleman,
Marine Girls,
E-Dancer,
Dawn Penn,
Surgeon,
Gichy Dan,
The Martian,
Drive Like Jehu,
The Wake,
Urselle,
Sun Ra Arkestra,
Crispian St. Peters,
Black Bananas,
Aloha Tigers,
Ultravox,
Frankie Knuckles,
Blossom Toes,
the Bar-Kays,
Heaven 17,
Yazoo,
Kerri Chandler,
Soft Machine,
Kevin Saunderson,
Notorious Big And Bone Thugs,
Don Cherry,
Judy Mowatt,
Pet Shop Boys,
Wighnomy Brothers & Robag Wruhme,
Patti Smith,
Albert Ayler,
Ten City,
Funkadelic,
Jimmy McGriff,
Toni Rubio,
Hasil Adkins,
Arab on Radar,
The Peanut Butter Conspiracy,
David McCallum,
Soulsonic Force,
Stockholm Monsters,
Rosa Yemen,
Drexciya,
Sonny Sharrock,
Gerry Rafferty,
Gong,
Country Joe & The Fish,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.