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 Gambia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Columbus and Winnipeg.
I'm losing my edge to the art-school Columbus 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 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 Wolf Eyes to the techno 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 Pierre Henry tracks. I heard you have a vinyl of every Simply Red 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
The Fugs,
Gang of Four,
One Last Wish,
Magma,
John Holt,
Chrome,
Jesper Dahlbäck,
Outsiders,
F. McDonald,
Sparks,
Aural Exciters,
Easy Going,
Funkadelic,
Roxette,
David Axelrod,
Schoolly D,
DeepChord presents Echospace,
Stiv Bators,
John Cale,
the Human League,
AZ,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
Pagans,
Severed Heads,
Ronan,
Underground Resistance,
Los Fastidios,
Delta 5,
Accadde A,
Maleditus Sound,
Echospace,
Pole,
Moebius,
Tim Buckley,
Avey Tare & Kría Brekkan,
Rotary Connection,
Kaleidoscope,
Kool Moe Dee,
The Fortunes,
The Selecter,
Das Ding,
The Young Rascals,
Ultra Naté,
John Lydon,
Deakin,
Desert Stars,
Roger Hodgson,
Sight & Sound,
X-102,
Susan Cadogan,
Marc Almond,
Eden Ahbez,
The Peanut Butter Conspiracy,
Sugar Minott,
Ultravox,
Lalann,
EPMD,
Monolake,
Supertramp,
Section 25,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.