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 Guinea and from Shanghai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Faraquet to the electroclash 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 Traffic Nightmare. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
The Techniques,
Porter Ricks,
Harpers Bizarre,
Radiohead,
Roxy Music,
Skriet,
Theoretical Girls,
Charles Mingus,
Gabor Szabo,
Maleditus Sound,
Delon & Dalcan,
The Divine Comedy,
New York Dolls,
Wolf Eyes,
Eli Mardock,
Ultra Naté,
Lakeside,
The American Breed,
Sonic Youth,
Nico,
Peter & Gordon,
Reuben Wilson,
Ultimate Spinach,
Pussy Galore,
Ajijia Myrayebe,
Isaac Hayes,
Pharaoh Sanders and the Fire Engines,
Deakin,
Malaria!,
Juan Atkins,
Ralphi Rosario,
Gastr Del Sol,
Sound Behaviour,
Jerry Gold Smith,
Ultravox,
Throbbing Gristle,
Mary Jane Girls,
Newcleus,
Rhythm & Sound,
Royal Trux,
David Axelrod,
Deadbeat,
Shuggie Otis,
Chris & Cosey,
Howard Jones,
Goldenarms,
De La Soul & Jungle Brothers,
The Wake,
Neil Young,
E-Dancer,
Soft Machine,
Archie Shepp,
Angry Samoans,
Fort Wilson Riot,
Bang On A Can,
Steve Hackett,
Nick Cave & The Bad Seeds,
Warsaw,
Grauzone,
Roy Ayers Ubiquity,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.