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 Argentina and from Stockholm.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Calgary and Madrid.
I'm losing my edge to the art-school Hong Kong 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 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 Juan Atkins to the rock kids.
I played it at the Spitz.
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 Stooges. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Stiv Bators,
The United States of America,
Big Daddy Kane,
ABC,
Supertramp,
Tubeway Army,
Mars,
Excepter,
Jerry Gold Smith,
Cymande,
Brand Nubian,
Popol Vuh,
Max Romeo,
Tears for Fears,
Marine Girls,
Ronan,
Gang Gang Dance,
Traffic Nightmare,
Los Fastidios,
Peter Gordon & Love of Life Orchestra,
Basic Channel,
Adolescents,
Be Bop Deluxe,
Cheater Slicks,
Whodini,
Kerri Chandler,
The Martian,
R.M.O.,
Depeche Mode,
The Remains,
Country Joe & The Fish,
The Jesus and Mary Chain,
Moebius,
Frankie Knuckles,
Gerry Rafferty,
MDC,
Rufus Thomas,
Maleditus Sound,
Kevin Saunderson,
Tim Buckley,
Joyce Sims,
Matthew Bourne,
Fort Wilson Riot,
Spoonie Gee,
Gary Puckett & The Union Gap,
Eric Copeland,
The Black Dice,
Nirvana,
Glenn Branca,
Bizarre Inc.,
Theoretical Girls,
Bobby Womack,
Grauzone,
Ken Boothe,
Minnie Riperton,
Gastr Del Sol,
Erykah Badu,
Lyres,
Soft Machine,
Howard Jones,
Sandy B,
New York Dolls,
Neil Young,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.