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 Hungary and from Lagos.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 The Count Five 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 Pylon. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Alarm Clocks,
Ituana,
Rhythim Is Rhythim,
Eden Ahbez,
the Slits,
Tim Buckley,
The Flesh Eaters,
Skarface,
The Kinks,
Rotary Connection,
The Angels of Light,
Joe Finger,
Chrome,
The Victims,
Pylon,
Wolf Eyes,
Juan Atkins,
Charles Mingus,
Erasure,
The Smiths,
The Monks,
Stockholm Monsters,
Avey Tare's Slasher Flicks,
Sticky Fingaz feat. Raekwon,
Carl Craig,
Josef K,
A Certain Ratio,
Teenage Jesus and the Jerks,
Crime,
Reuben Wilson,
Public Image Ltd.,
Lakeside,
Lucky Dragons,
Howard Jones,
Don Cherry,
Minutemen,
James White and The Blacks,
Whodini,
Thompson Twins,
Manfred Mann's Earth Band,
Johnny Clarke,
Super Lover Cee & Casanova Rud,
Section 25,
The Zeros,
The Grass Roots,
John Cale,
Television Personalities,
Dave Gahan,
Sonny Sharrock,
In Retrospect,
Donald Byrd,
Lou Reed,
Be Bop Deluxe,
Janne Schatter,
John Lydon,
Jeff Mills,
Moss Icon,
Bobby Hutcherson,
Rakim,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.