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 St Lucia and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Houston 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 theremin 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 Juan Atkins to the techno 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 The Kinks. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
The Dirtbombs,
Bang on a Can All-Stars,
Drive Like Jehu,
Be Bop Deluxe,
Deadbeat,
Kevin Saunderson,
Traffic Nightmare,
Bobby Womack,
Crime,
The Toasters,
Jacob Miller,
Gil Scott Heron,
Japan,
Theoretical Girls,
The Skatalites,
Lou Christie,
the Slits,
B.T. Express,
Motorama,
Richard Hell and the Voidoids,
The Alarm Clocks,
The Happenings,
Notorious BIG live in Amsterdam,
Amon Düül II,
the Bar-Kays,
Marcia Griffiths,
Mars,
Blancmange,
Quantec,
Fort Wilson Riot,
CMW,
Mo-Dettes,
Kool Moe Dee,
Angels of Light & Akron/Family,
Index,
Connie Case,
Joey Negro,
Underground Resistance,
Maleditus Sound,
Roy Ayers Ubiquity,
Black Moon,
Ten City,
the Fania All-Stars,
Tubeway Army,
Wolf Eyes,
Terrestrial Tones,
Moss Icon,
Fad Gadget,
Sparks,
Fatback Band,
Matthew Bourne,
Yellowson,
ABBA,
Shoche,
Curtis Mayfield,
Robert Görl,
Boogie Down Productions,
The Remains,
Andrew Hill,
Flash Fearless,
Carl Craig,
T.S.O.L.,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.