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 Serbia and from Edmonton.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Lyon 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 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 Peter Gordon & Love of Life Orchestra to the funk kids.
I played it at the Troubador.
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 Joey Negro. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Wolf Eyes,
Super Lover Cee & Casanova Rud,
Jeff Mills,
Pylon,
Chrome,
The Cure,
Juan Atkins,
Von Mondo,
The Mummies,
A Certain Ratio,
Radiopuhelimet,
Joe Smooth,
Rekid,
Johnny Osbourne,
Pantaleimon,
The Residents,
Crooked Eye,
Negative Approach,
Qualms,
Tres Demented,
Alison Limerick,
a-ha,
Byron Stingily,
Sällskapet,
Y Pants,
Urselle,
Yusef Lateef,
The Busters,
Ronan,
Infiniti,
Man Parrish,
10cc,
Interpol,
Fad Gadget,
Anthony Braxton,
The Alarm Clocks,
Bobby Sherman,
Shoche,
Dark Day,
The Buckinghams,
Pierre Henry,
Marvin Gaye,
The Dead C,
Kayak,
The Last Poets,
The Mojo Men,
Sonny Sharrock,
The Count Five,
Joe Finger,
The Monochrome Set,
MC5,
Lizzy Mercier Descloux,
Black Flag,
Fela Kuti,
Laurel Aitken,
The Golliwogs,
Siglo XX,
Orchestral Manoeuvres in the Dark,
Vladislav Delay,
Swans,
Moebius,
DNA,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.