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 Lesotho and from Lyon.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Gil Scott-Heron & Brian Jackson to the funk 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 Faraquet. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Erasure,
Isaac Hayes,
Andrew Ashong & Theo Parrish,
T. Rex,
Joy Division,
Jesper Dahlbäck,
Scott Walker + Sunn O))),
Grandmaster Flash,
New Order,
The Cowsills,
Harpers Bizarre,
Black Pus,
Dorothy Ashby,
Sound Behaviour,
Kayak,
Yaz,
Throbbing Gristle,
the Germs,
Tres Demented,
The Mighty Diamonds,
The Monks,
Larry & the Blue Notes,
Ultravox,
Japan,
The Divine Comedy,
Interpol,
Quadrant,
Gong,
Bobby Hutcherson,
Suburban Knight,
Grauzone,
Average White Band,
Hardrive,
Glambeats Corp.,
Maurizio,
Bang On A Can,
R.M.O.,
The Golliwogs,
The Alarm Clocks,
H. Thieme,
A Flock of Seagulls,
Scratch Acid,
Danielle Patucci,
Red Lorry Yellow Lorry,
The Kinks,
Bobbi Humphrey,
The Modern Lovers,
Faust,
the Soft Cell,
Sixth Finger,
Lalann,
China Crisis,
Dawn Penn,
Technova,
The Music Machine,
It's A Beautiful Day,
Silicon Teens,
Marc Romboy vs. Booka Shade,
Gil Scott-Heron and Jamie xx,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.