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 Papua New Guinea and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Yusef Lateef to the dance 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 Ultravox. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a spring reverb 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 spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Janne Schatter,
Sixth Finger,
Tim Buckley,
the Sonics,
Interpol,
the Association,
The Busters,
Fluxion,
Delta 5,
Nico,
Gian Franco Pienzio,
Boredoms,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron & Brian Jackson,
Rhythm & Sound,
Stereo Dub,
KRS-One,
Juan Atkins,
Wally Richardson,
Funky Four + One,
Moebius,
Roger Hodgson,
Skarface,
U.S. Maple,
Frankie Knuckles,
Saccharine Trust,
Urselle,
Sex Pistols,
Bauhaus,
Unrelated Segments,
Wings,
Kurtis Blow,
David Bowie,
Radio Birdman,
Harry Pussy,
Camouflage,
the Slits,
Dark Day,
Soul II Soul,
the Normal,
Cabaret Voltaire,
Fela Kuti,
Godley & Creme,
Infiniti,
Banda Bassotti,
June Days,
De La Soul & Jungle Brothers,
Au Pairs,
Angry Samoans,
L. Decosne,
Sonic Youth,
The Stooges,
Sad Lovers and Giants,
Glenn Branca,
Japan,
Soft Cell,
Tom Boy,
Alphaville,
Ronnie Foster,
Boogie Down Productions,
John Cale,
Lee Hazlewood,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.