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 Honduras and from Portland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Portland 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 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 Lonnie Liston Smith to the rap kids.
I played it at the 40 Watt.
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 the Human League. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
D'Angelo,
Harmonia,
Lungfish,
Bootsy Collins,
Fat Boys,
Funkadelic,
Marc Almond,
Sad Lovers and Giants,
Gabor Szabo,
Ronan,
Siouxsie and the Banshees,
DJ Sneak,
OOIOO,
Rhythm & Sound,
Rod Modell,
The Velvet Underground,
The Fire Engines,
Ten City,
Roy Ayers Ubiquity,
Quantec,
The Doors,
Lower 48,
Neil Young,
The Mummies,
Scott Walker,
Nirvana,
The Wake,
Flipper,
Scientists,
Be Bop Deluxe,
Black Moon,
Cheater Slicks,
Suicide,
a-ha,
Lou Reed,
The Walker Brothers,
The Associates,
Inner City,
Niagra,
Yusef Lateef,
Thinking Fellers Union Local 282,
Stockholm Monsters,
Cal Tjader,
Todd Terry,
Interpol,
Soul II Soul,
Juan Atkins,
Wire,
London Community Gospel Choir,
Funky Four + One,
Panda Bear,
Rekid,
Sun City Girls,
Crooked Eye,
The Move,
Bill Wells,
Section 25,
Eddi Front,
The Offenders,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.