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 Namibia and from Stockholm.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Qualms to the dance kids.
I played it at the Spitz.
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 Los Fastidios. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Slackers,
Technova,
The Velvet Underground,
The Gories,
Gil Scott-Heron and Jamie xx,
L. Decosne,
Dual Sessions,
Quantec,
Radiohead,
Sly & The Family Stone,
Kenny Larkin,
Lafayette Afro Rock Band,
Deadbeat,
Roxette,
the Fania All-Stars,
48th St. Collective,
Tim Buckley,
Marcia Griffiths,
Morten Harket,
Danielle Patucci,
Wally Richardson,
Connie Case,
The Jesus and Mary Chain,
Fad Gadget,
Alison Limerick,
The Modern Lovers,
Cheater Slicks,
Cybotron,
Red Lorry Yellow Lorry,
Lalann,
Godley & Creme,
Matthew Bourne,
Jacques Brel,
Kaleidoscope,
The Invisible,
Tears for Fears,
Derrick Morgan,
The Cosmic Jokers,
Dave Gahan,
The Smoke,
Faust,
Ultimate Spinach,
the Human League,
the Association,
Rosa Yemen,
Mantronix,
Rhythim Is Rhythim,
The Offenders,
Bill Wells,
John Coltrane,
Suburban Knight,
Jeru the Damaja,
The Dead C,
Siouxsie and the Banshees,
Whodini,
Gastr Del Sol,
Kool Moe Dee,
Soft Machine,
Ken Boothe,
Alphaville, Alphaville, Alphaville, Alphaville.
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.