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 Kosovo and from Calgary.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Houston 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 guitar 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 Hashim 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 The Young Rascals. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Kerri Chandler 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
the Human League,
R.M.O.,
Lizzy Mercier Descloux,
Jeru the Damaja,
Bang on a Can All-Stars,
UT,
Harry Pussy,
Ornette Coleman,
Kenny Larkin,
Be Bop Deluxe,
the Soft Cell,
Jandek,
Traffic Nightmare,
Japan,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
Jesper Dahlbäck,
Surgeon,
Gerry Rafferty,
Roger Hodgson,
The Shadows of Knight,
Ronnie Foster,
Eli Mardock,
The Fugs,
The Cure,
Susan Cadogan,
The Sisters of Mercy,
The Count Five,
The Pop Group,
Drexciya,
Scratch Acid,
Cluster,
X-101,
Parry Music,
Shuggie Otis,
Pete Rock & C.L. Smooth,
Tim Buckley,
a-ha,
Depeche Mode,
Bluetip,
The Kinks,
Sonny Sharrock,
AZ,
Newcleus,
Louis and Bebe Barron,
Oneida,
Avey Tare's Slasher Flicks,
The Seeds,
Oppenheimer Analysis,
The Durutti Column,
Sam Rivers,
Big Daddy Kane,
The Doobie Brothers,
The Associates,
Jeff Lynne,
Fear,
Janne Schatter,
D'Angelo,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.