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 Germany and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1976.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school Paris 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the crunk kids.
I played it at the Crocodile.
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 Essential Logic. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your guitar and bought an organ.
I hear that you and your band have sold your organ and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Amon Düül II,
Masters at Work,
Eric Dolphy,
Barclay James Harvest,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
The American Breed,
Loose Ends,
Ultra Naté,
The Last Poets,
The Doors,
Japan,
D'Angelo,
the Slits,
Brick,
The Divine Comedy,
The Vogues,
The Flesh Eaters,
Pylon,
Qualms,
One Last Wish,
John Holt,
Lonnie Liston Smith,
Motorama,
Technova,
The Smoke,
Cameo,
Q65,
Jandek,
The Monochrome Set,
Depeche Mode,
Pete Rock & C.L. Smooth,
Scan 7,
Flipper,
Nick Fraelich,
Art Ensemble Of Chicago,
Rhythim Is Rhythim,
The Misunderstood,
Angels of Light & Akron/Family,
The Selecter,
Avey Tare,
Lafayette Afro Rock Band,
Aloha Tigers,
Red Lorry Yellow Lorry,
Oneida,
Shoche,
Donny Hathaway,
Barrington Levy,
The Alarm Clocks,
FM Einheit,
The Cure,
Johnny Clarke,
The Moleskins,
Warsaw,
The Detroit Cobras,
Oblivians,
Chris Corsano,
Khruangbin,
Bobby Byrd,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.