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 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 1971.
I'm losing my edge.
To all the kids in Paris and Spokane.
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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Sparks to the dance kids.
I played it at CBGB's.
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 Theoretical Girls. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Crispian St. Peters,
One Last Wish,
The Smiths,
Richard Hell and the Voidoids,
Scan 7,
Quantec,
Harpers Bizarre,
The Seeds,
Mars,
Lonnie Liston Smith,
Glambeats Corp.,
Rosa Yemen,
Pierre Henry,
Nick Cave & The Bad Seeds,
Jerry Gold Smith,
Ten City,
Ossler,
Art Ensemble Of Chicago,
The Techniques,
The Gap Band,
Maleditus Sound,
Fluxion,
Man Parrish,
Public Image Ltd.,
Idris Muhammad,
Sex Pistols,
Fad Gadget,
Loose Ends,
The Motions,
Stereo Dub,
Matthew Halsall,
Kerrie Biddell,
The Litter,
Crime,
The Dirtbombs,
AZ,
Frankie Knuckles,
Black Flag,
The Misunderstood,
Judy Mowatt,
Talk Talk,
The Raincoats,
Justin Hinds & The Dominoes,
the Normal,
Sad Lovers and Giants,
Monolake,
The Searchers,
Darondo,
Rowland S Howard / Lydia Lunch,
Ash Ra Tempel,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
Lebanon Hanover,
Tropical Tobacco,
Sarah Menescal,
Todd Terry,
Jesper Dahlbäck,
Pharoah Sanders,
Sound Behaviour,
Robert Görl,
Theoretical Girls,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.