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 Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lille and Spokane.
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 spring reverb 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 Lou Reed to the crunk kids.
I played it at the Astoria.
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 Sad Lovers and Giants. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
The Shadows of Knight,
Jerry Gold Smith,
K-Klass,
Drexciya,
Y Pants,
L. Decosne,
Radio Birdman,
David Bowie,
Super Lover Cee & Casanova Rud,
The West Coast Pop Art Experimental Band,
Amazonics,
X-101,
Rowland S Howard / Lydia Lunch,
Quantec,
The Fugs,
Donny Hathaway,
Ralphi Rosario,
Rosa Yemen,
Aural Exciters,
Country Joe & The Fish,
Lindisfarne,
New Age Steppers,
Fluxion,
Gang of Four,
Leonard Cohen,
Agitation Free,
Buzzcocks,
Bizarre Inc.,
Juan Atkins,
Chris & Cosey,
Television,
Supertramp,
Crispian St. Peters,
Inner City,
Section 25,
Swans,
Minor Threat,
Accadde A,
The Red Krayola,
The Skatalites,
Suicide,
Nils Olav,
Mars,
Judy Mowatt,
Notorious BIG live in Amsterdam,
The Royal Family And The Poor,
Lakeside,
Basic Channel,
Slave,
The Divine Comedy,
Scion,
Hot Snakes,
The Move,
Amon Düül II,
Matthew Bourne,
Pere Ubu,
The Fortunes,
Organ,
Sällskapet,
Skriet,
Howard Jones,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.