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 Togo and from Lille.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Delhi and Mumbai.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Jeru the Damaja to the disco kids.
I played it at CBGB's.
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 Stereo Dub. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every DNA 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 '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Y Pants record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Metal Thangz,
The Dirtbombs,
Andrew Ashong & Theo Parrish,
Bobby Byrd,
Japan,
Adolescents,
Ossler,
Gil Scott Heron,
Terry Callier,
Swans,
Cybotron,
Alphaville,
Bad Manners,
Bang On A Can,
Black Flag,
Livin' Joy,
Cal Tjader,
Saccharine Trust,
Gregory Isaacs,
Arab on Radar,
Monks,
LL Cool J,
Kool G Rap & DJ Polo,
Siouxsie and the Banshees,
Black Bananas,
Wasted Youth,
Susan Cadogan,
Moss Icon,
The Litter,
The Modern Lovers,
Aswad,
La Düsseldorf,
Dorothy Ashby,
JFA,
X-Ray Spex,
Howard Jones,
The Cowsills,
Au Pairs,
Ultravox,
Lee Hazlewood,
the Association,
Big Daddy Kane,
Scratch Acid,
Fatback Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aural Exciters,
Freddie Wadling,
The Doobie Brothers,
The Moleskins,
Urselle,
Patti Smith,
Infiniti,
Talk Talk,
Wire,
Television,
Sexual Harrassment,
Bluetip,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.