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 Belize and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Edmonton.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Michael McDonald 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 Neil Young to the rap 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 The Royal Family And The Poor. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Patti Smith,
Red Lorry Yellow Lorry,
The Moleskins,
Morten Harket,
Fat Boys,
Barbara Tucker,
Rowland S Howard / Lydia Lunch,
Dual Sessions,
Terrestrial Tones,
Neil Young,
The Beau Brummels,
Al Stewart,
Tomorrow,
Gil Scott-Heron and Jamie xx,
Absolute Body Control,
The Sisters of Mercy,
ABC,
Pierre Henry,
Donald Byrd,
Grandmaster Flash and the Furious Five,
Piero Umiliani,
The Gories,
Juan Atkins,
the Bar-Kays,
Dead Boys,
The Fire Engines,
Mr. Review,
Negative Approach,
Avey Tare & Kría Brekkan,
The Detroit Cobras,
Boredoms,
Jandek,
Suicide,
Kings Of Tomorrow,
Ossler,
Orchestral Manoeuvres in the Dark,
Tommy Roe,
Toni Rubio,
EPMD,
Vaughan Mason & Crew,
New York Dolls,
The Blues Magoos,
Funkadelic,
DJ Style,
World's Most,
Man Eating Sloth,
The Mojo Men,
Animal Collective,
Visage,
Bauhaus,
Flamin' Groovies,
the Germs,
Aural Exciters,
UT,
Pulsallama,
48th St. Collective,
Scan 7,
Urselle,
FM Einheit,
Camron Feat. Memphis Bleek And Beenie Seigel,
cv313,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.