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 Malaysia and from London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Heaven 17 to the techno kids.
I played it at the Spitz.
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 Index. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Bluetip,
Eli Mardock,
The Kinks,
London Community Gospel Choir,
Laurel Aitken,
Saccharine Trust,
Minutemen,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Aural Exciters,
China Crisis,
Glambeats Corp.,
Audionom,
Khruangbin,
Barclay James Harvest,
The Velvet Underground,
Half Japanese,
Hoover,
Essential Logic,
Bob Dylan,
Joy Division,
The Beau Brummels,
Stetsasonic,
Richard Hell and the Voidoids,
Gong,
Marshall Jefferson,
The Smiths,
Bill Near,
Grey Daturas,
Janne Schatter,
The Happenings,
Lungfish,
Agitation Free,
Alison Limerick,
Echo & the Bunnymen,
Los Fastidios,
The Birthday Party,
a-ha,
Popol Vuh,
Bush Tetras,
The Real Kids,
Ohio Players,
Supertramp,
Susan Cadogan,
Index,
Mary Jane Girls,
Wighnomy Brothers & Robag Wruhme,
Magma,
Gregory Isaacs,
Skarface,
Lightning Bolt,
Reuben Wilson,
Liliput,
Quadrant,
Sun Ra,
Dual Sessions,
Quando Quango,
The Buckinghams,
DNA,
The Human League,
Steve Hackett,
Fear,
Motorama,
the Slits, the Slits, the Slits, the Slits.
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.