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 Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Todd Terry to the disco kids.
I played it at the Hacienda.
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 Vogues. All the underground hits.
All DNA tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Masters at Work,
Urselle,
48th St. Collective,
Scott Walker,
Connie Case,
The Litter,
Al Stewart,
Neu!,
John Cale,
Ultimate Spinach,
Liliput,
Average White Band,
Super Lover Cee & Casanova Rud,
Pole,
The Smoke,
Scrapy,
Archie Shepp,
Notorious BIG live in Amsterdam,
Soft Cell,
Bill Wells,
David Axelrod,
Second Layer,
Ossler,
Loose Ends,
China Crisis,
Oneida,
OOIOO,
Thee Headcoats,
Nick Fraelich,
Suicide,
The United States of America,
Traffic Nightmare,
Maurizio,
The Electric Prunes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lafayette Afro Rock Band,
Amon Düül,
The Stooges,
Heavy D & The Boyz,
The Star Department,
Cabaret Voltaire,
Sonny Sharrock,
Siglo XX,
The Mighty Diamonds,
The Standells,
Lungfish,
Alison Limerick,
The Cowsills,
U.S. Maple,
New Age Steppers,
Japan,
X-Ray Spex,
The Velvet Underground,
Basic Channel,
Drive Like Jehu,
Piero Umiliani,
Das Ding,
Mr. Review,
Hasil Adkins,
Davy DMX,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.