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 Austria and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Swell Maps to the crunk 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 Lou Reed. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
MDC,
Boz Scaggs,
Echo & the Bunnymen,
Todd Rundgren,
Ultravox,
Ultra Naté,
Rhythm & Sound,
Q65,
Country Joe & The Fish,
Pantaleimon,
Lindisfarne,
Oblivians,
Gil Scott-Heron and Jamie xx,
Ken Boothe,
Notorious Big And Bone Thugs,
The Invisible,
Gang Green,
Pagans,
X-102,
Deutsch Amerikanische Freundschaft,
The Sonics,
Minutemen,
The Red Krayola,
Sexual Harrassment,
Nick Cave & The Bad Seeds,
Lou Reed,
The Gun Club,
The Cosmic Jokers,
Liliput,
Gian Franco Pienzio,
Mary Jane Girls,
D'Angelo,
Surgeon,
Eric B and Rakim,
Pere Ubu,
The Names,
Throbbing Gristle,
Dorothy Ashby,
Silicon Teens,
Captain Beefheart & His Magic Band,
8 Eyed Spy,
Swans,
Sound Behaviour,
Roxette,
Funky Four + One,
Dennis Brown,
Black Moon,
Crash Course in Science,
Absolute Body Control,
Chris & Cosey,
Ash Ra Tempel,
Kevin Saunderson,
The United States of America,
The Monks,
The Remains,
Essential Logic,
The Chocolate Watch Band,
Von Mondo,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.