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 Greece and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Cairo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Brass Construction to the disco kids.
I played it at Cafe Wha.
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 Rites of Spring. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Pet Shop Boys,
The Gap Band,
Blossom Toes,
Fugazi,
Funky Four + One,
Wasted Youth,
The Fugs,
Maleditus Sound,
Girls At Our Best!,
Tommy Roe,
Nick Fraelich,
Lee Hazlewood,
Art Ensemble Of Chicago,
Dorothy Ashby,
Visionaries,LMNO, T- Love & Iriscience,
June Days,
The Sisters of Mercy,
Smog,
Scion,
Camberwell Now,
Lungfish,
Ajijia Myrayebe,
Max Romeo,
Fad Gadget,
Pierre Henry,
Gary Puckett & The Union Gap,
Kerri Chandler,
Flipper,
Röyhkä ja Rättö ja Lehtisalo,
Siouxsie and the Banshees,
Little Man,
X-Ray Spex,
Robert Hood,
The Mighty Diamonds,
Subhumans,
Liliput,
Charles Mingus,
The Music Machine,
Adolescents,
Avey Tare's Slasher Flicks,
The Residents,
Tropical Tobacco,
Zapp,
Whodini,
The Fortunes,
the Slits,
Jacob Miller,
Teenage Jesus and the Jerks,
Graham Central Station,
the Fania All-Stars,
Ronnie Foster,
The Star Department,
Bauhaus,
Sandy B,
Supertramp,
Second Layer,
Severed Heads,
The Gories,
Lalo Schifrin,
Rosa Yemen,
Faust,
Interpol,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.