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 Georgia and from Taipei.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Paris.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 ABC to the punk 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 The Slackers. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s.
I hear you're buying a snare and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Crispian St. Peters,
Tomorrow,
Minnie Riperton,
James Chance & The Contortions,
The Last Poets,
Man Eating Sloth,
Wighnomy Brothers & Robag Wruhme,
Teenage Jesus and the Jerks,
KRS-One,
Wally Richardson,
Gerry Rafferty,
John Cale,
Magma,
London Community Gospel Choir,
Orchestral Manoeuvres in the Dark,
Massinfluence,
the Swans,
Camouflage,
Delon & Dalcan,
Model 500,
Black Flag,
The Peanut Butter Conspiracy,
Country Joe & The Fish,
F. McDonald,
Frankie Knuckles,
Faraquet,
Pulsallama,
Joey Negro,
Donald Byrd,
the Sonics,
Tom Boy,
Au Pairs,
Freddie Wadling,
Marmalade,
Major Organ And The Adding Machine,
Quantec,
The Pop Group,
The Techniques,
Altered Images,
The Sisters of Mercy,
Intrusion,
ABC,
Brick,
Lower 48,
Chrome,
OOIOO,
The Dirtbombs,
New Order,
L. Decosne,
Jacques Brel,
In Retrospect,
Deakin,
Boredoms,
Pantaleimon,
The Trojans,
New Age Steppers,
Organ,
Cecil Taylor,
Laurel Aitken,
Suburban Knight,
Kerrie Biddell,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.