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 Belgium and from Taipei.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Country Teasers to the jazz kids.
I played it at the Roxy.
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 Bizarre Inc.. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Cecil Taylor,
The Star Department,
Derrick Morgan,
The Neon Judgement,
Average White Band,
Marvin Gaye,
Kevin Saunderson,
Ronnie Foster,
Joe Finger,
Skriet,
Accadde A,
the Bar-Kays,
Howard Jones,
Idris Muhammad,
Frankie Knuckles,
Theoretical Girls,
Junior Murvin,
Public Image Ltd.,
Marmalade,
Scrapy,
Letta Mbulu,
Steve Hackett,
Bizarre Inc.,
The Selecter,
Black Flag,
Loose Ends,
Archie Shepp,
Panda Bear,
Procol Harum,
Roxette,
Marine Girls,
Manfred Mann's Earth Band,
John Foxx,
Skarface,
Scion,
New York Dolls,
Clear Light,
Peter and Kerry,
Saccharine Trust,
Echo & the Bunnymen,
Tres Demented,
Echospace,
The Walker Brothers,
Josef K,
L. Decosne,
Ultramagnetic MC's,
The West Coast Pop Art Experimental Band,
Barrington Levy,
Nils Olav,
Aswad,
Quando Quango,
Black Sheep,
Metal Thangz,
Marcia Griffiths,
The Divine Comedy,
Essential Logic,
Eli Mardock,
Nick Fraelich,
Pussy Galore,
Smog,
Deutsch Amerikanische Freundschaft,
Lakeside, Lakeside, Lakeside, Lakeside.
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.