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 Costa Rica and from Seoul.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 10cc to the disco kids.
I played it at the Spitz.
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 Warsaw. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
The Count Five,
Radio Birdman,
The Alarm Clocks,
The Gories,
The Offenders,
EPMD,
Prince Buster,
Lee Hazlewood,
B.T. Express,
Gregory Isaacs,
10cc,
the Slits,
Make Up,
Anthony Braxton,
Cabaret Voltaire,
In Retrospect,
Marvin Gaye,
The Velvet Underground,
Blancmange,
Stereo Dub,
Nico,
Kango’s Stein Massive,
the Bar-Kays,
Isaac Hayes,
Joensuu 1685,
Los Fastidios,
Can,
The Moleskins,
Electric Prunes,
Rahsaan Roland Kirk,
Talk Talk,
Dave Gahan,
The Shadows of Knight,
Ohio Players,
Black Bananas,
DeepChord presents Echospace,
Ludus,
Beasts of Bourbon,
The Doors,
Liliput,
Sonny Sharrock,
H. Thieme,
Blake Baxter,
A Flock of Seagulls,
The Sisters of Mercy,
Traffic Nightmare,
Dark Day,
Sparks,
Gichy Dan,
Technova,
Gil Scott-Heron & Brian Jackson,
Tres Demented,
The Knickerbockers,
Tropical Tobacco,
Whodini,
Wire,
Todd Rundgren,
Qualms,
Sight & Sound,
Excepter,
Derrick May,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.