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 Madagascar and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 Lightning Bolt to the jazz kids.
I played it at the Astoria.
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 Funkadelic. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
U.S. Maple,
Boz Scaggs,
These Immortal Souls,
The United States of America,
The Gap Band,
The Standells,
the Normal,
Gary Puckett & The Union Gap,
Lindisfarne,
Banda Bassotti,
Marine Girls,
Popol Vuh,
Jeru the Damaja,
Joensuu 1685,
Avey Tare,
OOIOO,
The Smoke,
Fad Gadget,
Dr. Dre and Snoop Doggy Dog,
Drexciya,
The Birthday Party,
Dawn Penn,
Masters at Work,
Nation of Ulysses,
The Invisible,
Slave,
Scott Walker,
Camberwell Now,
John Coltrane,
the Germs,
Mr. Review,
Minor Threat,
Dual Sessions,
Outsiders,
Country Teasers,
Sunsets and Hearts,
Index,
Peter Gordon & Love of Life Orchestra,
Underground Resistance,
Sonny Sharrock,
Tim Buckley,
Hoover,
MDC,
The Moleskins,
Nick Cave & The Bad Seeds,
Spoonie Gee,
Ultra Naté,
Barrington Levy,
Siglo XX,
A Flock of Seagulls,
Kings Of Tomorrow,
The Shadows of Knight,
Bluetip,
Throbbing Gristle,
Visage,
The Misunderstood,
Man Parrish,
Talk Talk,
Anakelly,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.