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 Panama and from Calgary.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Can practice in a loft in Cologne.
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 Sugar Minott to the grime 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 James Chance & The Contortions. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every X-101 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Flash Fearless,
Electric Prunes,
the Germs,
Scott Walker + Sunn O))),
U.S. Maple,
The Smoke,
Adolescents,
Notorious BIG live in Amsterdam,
The Gap Band,
Black Sheep,
Sticky Fingaz feat. Raekwon,
Ornette Coleman,
The Raincoats,
K-Klass,
Echo & the Bunnymen,
Anakelly,
The Moody Blues,
Funkadelic,
Marmalade,
Scrapy,
Monks,
Marshall Jefferson,
Procol Harum,
Selector Dub Narcotic,
Crooked Eye,
the Soft Cell,
Soul II Soul,
Jandek,
Black Moon,
AZ,
The Tremeloes,
The Wake,
Pylon,
The Fall,
Matthew Halsall,
Grandmaster Flash and the Furious Five,
Sonic Youth,
The Doobie Brothers,
Whodini,
Alphaville,
Sound Behaviour,
Steve Hackett,
Al Stewart,
Circle Jerks,
Rapeman,
Lou Christie,
Pere Ubu,
The Motions,
Sarah Menescal,
Thompson Twins,
Masters at Work,
China Crisis,
Larry & the Blue Notes,
The Slits,
Tres Demented,
Howard Jones,
Basic Channel,
The Sonics,
Delon & Dalcan,
Ultravox,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.