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 Bahrain and from Lagos.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Shadows of Knight to the disco 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 Marmalade. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Josef K,
Captain Beefheart & His Magic Band,
Interpol,
Ronan,
Loose Ends,
Fugazi,
Schoolly D,
Anthony Braxton,
Wolf Eyes,
John Cale,
Althea and Donna,
Nirvana,
Donny Hathaway,
Crash Course in Science,
Lou Christie,
Glenn Branca,
Barrington Levy,
The Jesus and Mary Chain,
Radio Birdman,
Sexual Harrassment,
Reuben Wilson,
PIL,
Tommy Roe,
KRS-One,
Symarip,
Neu!,
The Fire Engines,
Niagra,
Sunsets and Hearts,
Jerry's Kids,
Unwound,
Yaz,
Lyres,
Saccharine Trust,
K-Klass,
The Monks,
Donald Byrd,
Suburban Knight,
Simply Red,
Fluxion,
Funky Four + One,
The Detroit Cobras,
The Fall,
Juan Atkins,
The Blackbyrds,
Avey Tare & Kría Brekkan,
Bill Wells,
Motorama,
Minny Pops,
Thinking Fellers Union Local 282,
Angels of Light & Akron/Family,
Public Image Ltd.,
Red Lorry Yellow Lorry,
Bauhaus,
Joey Negro,
Andrew Hill,
Los Fastidios,
Skarface,
Mantronix,
the Human League,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.