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 Palau and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Delhi 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Nick Fraelich to the rap kids.
I played it at the Crocodile.
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 Dead Boys. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal punk 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 a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Lou Reed & John Cale,
Scratch Acid,
The Monks,
Roy Ayers Ubiquity,
The Gap Band,
Aural Exciters,
The Dave Clark Five,
Eric Copeland,
Animal Collective,
Red Lorry Yellow Lorry,
Roxette,
UT,
Blancmange,
Joe Finger,
The Pretty Things,
The Last Poets,
kango's stein massive,
Scientists,
Blake Baxter,
It's A Beautiful Day,
Vladislav Delay,
Ohio Players,
Half Japanese,
The Dead C,
Radiohead,
Das Ding,
Magazine,
Ornette Coleman,
Niagra,
Parry Music,
The Velvet Underground,
Au Pairs,
Dead Boys,
Sandy B,
Lalann,
Sugar Minott,
Thee Headcoats,
Clear Light,
Yaz,
Nik Kershaw,
Judy Mowatt,
Urselle,
Heavy D & The Boyz,
Laurel Aitken,
A Certain Ratio,
Pantytec,
Man Parrish,
Eurythmics,
Marcia Griffiths,
Ajijia Myrayebe,
Make Up,
The Red Krayola,
Pagans,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rhythim Is Rhythim,
Visionaries,LMNO, T- Love & Iriscience,
FM Einheit,
Albert Ayler,
Black Sheep,
Faraquet,
Steve Hackett,
Flamin' Groovies,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.