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 Tanzania 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 1965 to 1976.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 James White and The Blacks to the rock 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 Avey Tare & Kría Brekkan. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every The Fire Engines 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Bizarre Inc.,
Barbara Tucker,
Kool G Rap & DJ Polo,
Gil Scott-Heron & Brian Jackson,
Sight & Sound,
Au Pairs,
The Sonics,
Scratch Acid,
Freddie Wadling,
Slave,
Drive Like Jehu,
Nirvana,
Adolescents,
Roxette,
Loose Ends,
Beasts of Bourbon,
Gary Puckett & The Union Gap,
Public Image Ltd.,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
the Soft Cell,
Lou Reed,
Tres Demented,
Radiohead,
Lizzy Mercier Descloux,
Eric Copeland,
Nik Kershaw,
Lindisfarne,
Crime,
The Smiths,
Pierre Henry,
R.M.O.,
Neil Young,
Marcia Griffiths,
Boogie Down Productions,
Banda Bassotti,
The Tremeloes,
Ronnie Foster,
The Barracudas,
Chrome,
The Buckinghams,
Mr. Review,
Tropical Tobacco,
Altered Images,
Interpol,
Fluxion,
Lower 48,
Hashim,
China Crisis,
Basic Channel,
Dorothy Ashby,
Ohio Players,
The Velvet Underground,
The Cowsills,
Boredoms,
Kings Of Tomorrow,
Ken Boothe,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.