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 Serbia and from Edmonton.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Harpers Bizarre to the grime kids.
I played it at the 40 Watt.
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 A Certain Ratio. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
The Skatalites,
Electric Prunes,
DJ Style,
Sugar Minott,
DNA,
The Cowsills,
Arthur Verocai,
Sunsets and Hearts,
Animal Collective,
Kaleidoscope,
A Certain Ratio,
Kevin Saunderson,
The Gories,
Bang on a Can All-Stars,
Leonard Cohen,
Todd Terry,
Frankie Knuckles,
These Immortal Souls,
Flash Fearless,
The Motions,
Circle Jerks,
Jawbox,
Avey Tare & Kría Brekkan,
Nick Fraelich,
Dorothy Ashby,
Alice Coltrane,
Bootsy's Rubber Band,
The Names,
The Smiths,
Unwound,
China Crisis,
Negative Approach,
Joe Smooth,
The Wake,
Fort Wilson Riot,
Sight & Sound,
Vaughan Mason & Crew,
Lee Hazlewood,
Glambeats Corp.,
The Saints,
Procol Harum,
Pylon,
Theoretical Girls,
The Chocolate Watch Band,
Duran Duran,
Amon Düül II,
Major Organ And The Adding Machine,
Maurizio,
Pantytec,
The Golliwogs,
Byron Stingily,
The Cramps,
Robert Wyatt,
Lakeside,
Country Joe & The Fish,
Stiv Bators,
Mission of Burma,
The Associates,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.