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 Angola and from Bremen.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 The Dead C to the techno 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 Crooked Eye. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Public Enemy,
Second Layer,
Delon & Dalcan,
Quadrant,
Leonard Cohen,
Sarah Menescal,
Andrew Hill,
T. Rex,
Sparks,
Youth Brigade,
Radiohead,
Cal Tjader,
Jesper Dahlback,
Bill Wells,
The Music Machine,
The Slackers,
Lou Reed & John Cale,
Popol Vuh,
CMW,
Mars,
Khruangbin,
Orchestral Manoeuvres in the Dark,
Marvin Gaye,
Blake Baxter,
Mantronix,
Strawberry Alarm Clock,
Pete Rock & C.L. Smooth,
Dorothy Ashby,
The Moleskins,
Von Mondo,
Minutemen,
Deutsch Amerikanische Freundschaft,
The Young Rascals,
Lebanon Hanover,
Drexciya,
The Slits,
Y Pants,
Radio Birdman,
Skarface,
Boz Scaggs,
Scion,
Organ,
X-101,
Teenage Jesus and the Jerks,
Sällskapet,
Sonic Youth,
The Cure,
Lou Reed & Metallica,
Amon Düül II,
Magma,
The Velvet Underground,
The West Coast Pop Art Experimental Band,
Chrome,
Television,
Yazoo,
Mary Jane Girls,
The Monks,
Eddi Front,
Mandrill, Mandrill, Mandrill, Mandrill.
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.