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 Benin and from Bremen.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Manila 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 chamberlin 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 New Age Steppers 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 Rhythm & Sound. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Glenn Branca,
Masters at Work,
The American Breed,
Con Funk Shun,
John Holt,
Kauko Röyhkä ja Narttu,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Bush Tetras,
Brand Nubian,
Freddie Wadling,
Chris Corsano,
Camouflage,
Skarface,
Au Pairs,
Swell Maps,
Marcia Griffiths,
Sight & Sound,
Sad Lovers and Giants,
Brass Construction,
Soul Sonic Force,
Kas Product,
Kurtis Blow,
The Seeds,
Infiniti,
Sällskapet,
Grandmaster Flash and the Furious Five,
June Days,
Pharaoh Sanders and the Fire Engines,
Harry Pussy,
The Angels of Light,
Juan Atkins,
Grauzone,
Unrelated Segments,
The Gap Band,
The Raincoats,
Dorothy Ashby,
cv313,
Amon Düül,
UT,
the Germs,
The Count Five,
B.T. Express,
Letta Mbulu,
T.S.O.L.,
Pole,
Grandmaster Flash,
Sly & The Family Stone,
OOIOO,
Fifty Foot Hose,
Isaac Hayes,
Can,
The Buckinghams,
Malaria!,
Slick Rick,
Blake Baxter,
Alphaville,
Peter Gordon & Love of Life Orchestra,
Echospace,
a-ha,
Moebius,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.