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 Andorra and from Jakarta.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Seoul 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Chocolate Watch Band to the dance kids.
I played it at the Roxy.
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 Alice Coltrane. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Suburban Knight,
Underground Resistance,
Los Fastidios,
Grandmaster Flash,
Drexciya,
Soft Cell,
The Red Krayola,
Cymande,
Scratch Acid,
The Star Department,
Strawberry Alarm Clock,
Excepter,
Mary Jane Girls,
Todd Terry,
X-Ray Spex,
Quadrant,
Sister Nancy,
The Move,
Grauzone,
Tropical Tobacco,
Main Source,
Little Man,
Michelle Simonal,
The Doors,
Cheater Slicks,
Negative Approach,
Mantronix,
Grandmaster Flash and the Furious Five,
Gong,
Alphaville,
Aaron Thompson,
The Peanut Butter Conspiracy,
Robert Wyatt,
Oblivians,
Camron Feat. Memphis Bleek And Beenie Seigel,
Howard Jones,
Nick Cave & The Bad Seeds,
Dual Sessions,
The Detroit Cobras,
Black Moon,
Rakim,
Agent Orange,
X-102,
The Martian,
Visage,
The Cramps,
Beasts of Bourbon,
Sonic Youth,
Scientists,
Theoretical Girls,
Deakin,
Sällskapet,
Quando Quango,
Roger Hodgson,
FM Einheit,
Easy Going,
Bootsy's Rubber Band,
The Saints,
Stetsasonic,
Zapp,
Franke, Franke, Franke, Franke.
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.