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 Cambodia and from Paris.
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 1970.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Blancmange to the grunge 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 Visage. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
48th St. Collective,
John Cale,
Robert Görl,
E-Dancer,
Mandrill,
Vainqueur,
Stiv Bators,
The Smiths,
Kerri Chandler,
The Flesh Eaters,
The Buckinghams,
Boogie Down Productions,
Cymande,
Beasts of Bourbon,
Pylon,
The Electric Prunes,
Mo-Dettes,
Duran Duran,
James Chance & The Contortions,
Niagra,
Tubeway Army,
Bob Dylan,
Hardrive,
Groovy Waters,
Scion,
Nation of Ulysses,
Section 25,
Organ,
Mad Mike,
Tom Boy,
Manfred Mann's Earth Band,
The Vogues,
Man Eating Sloth,
Motorama,
Lafayette Afro Rock Band,
Curtis Mayfield,
Josef K,
Donald Byrd,
Leonard Cohen,
Stereo Dub,
Fatback Band,
Technova,
Bill Near,
John Foxx,
Fear,
The Victims,
The Walker Brothers,
Terror Squad Feat. Camron,
Harpers Bizarre,
Suburban Knight,
Circle Jerks,
Captain Beefheart & His Magic Band,
Althea and Donna,
Pete Rock & C.L. Smooth,
The Five Americans,
Soul Sonic Force,
Faraquet,
Pantaleimon,
Inner City,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.