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 Botswana and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1970.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Drexciya to the rap kids.
I played it at the Troubador.
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 Lucky Dragons. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Von Mondo,
Swans,
Tomorrow,
The Angels of Light,
ABC,
Bad Manners,
Nik Kershaw,
Outsiders,
Cluster,
Black Pus,
Bobby Sherman,
John Coltrane,
Babytalk,
Lee Hazlewood,
Wings,
Joy Division,
Eden Ahbez,
Con Funk Shun,
The Modern Lovers,
Spoonie Gee,
Kas Product,
Gong,
Lindisfarne,
Sight & Sound,
Sam Rivers,
Andrew Ashong & Theo Parrish,
Kurtis Blow,
CMW,
Masters at Work,
Roxette,
The West Coast Pop Art Experimental Band,
Scion,
The Remains,
Gerry Rafferty,
Roy Ayers,
Minutemen,
Agent Orange,
Justin Hinds & The Dominoes,
The Fuzztones,
Hoover,
K-Klass,
Bob Dylan,
Silicon Teens,
The Peanut Butter Conspiracy,
Bill Near,
The Fortunes,
Country Joe & The Fish,
The Men They Couldn't Hang,
Peter & Gordon,
Sparks,
New York Dolls,
Leonard Cohen,
Brick,
Newcleus,
Mo-Dettes,
Minor Threat,
Cybotron,
The Doors,
Dead Boys,
Neil Young,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.