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 Belize and from Madrid.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Accra 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 clarinet 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 Alton Ellis to the punk 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 Harry Pussy. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Subhumans,
LL Cool J,
Tim Buckley,
Electric Light Orchestra,
Eurythmics,
Major Organ And The Adding Machine,
The Cowsills,
Bobby Sherman,
Jimmy McGriff,
Sound Behaviour,
Kool Moe Dee,
Flipper,
Nirvana,
a-ha,
Dave Gahan,
Icehouse,
Lebanon Hanover,
The United States of America,
Radio Birdman,
OOIOO,
The Moleskins,
Bizarre Inc.,
Banda Bassotti,
Sam Rivers,
Half Japanese,
Marine Girls,
Iggy Pop,
The Mummies,
Thinking Fellers Union Local 282,
Young Marble Giants,
Japan,
Andrew Ashong & Theo Parrish,
Marc Almond,
The Toasters,
Carl Craig,
Davy DMX,
Motorama,
Michelle Simonal,
John Lydon,
T.S.O.L.,
The Flesh Eaters,
Freddie Wadling,
the Association,
Neu!,
Roxette,
Surgeon,
Swell Maps,
A Flock of Seagulls,
Strawberry Alarm Clock,
Roy Ayers Ubiquity,
Tomorrow,
The Saints,
Arthur Verocai,
The Cosmic Jokers,
Robert Hood,
Y Pants,
Skriet,
Albert Ayler,
Duran Duran,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.