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 Iceland and from Manchester.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lyon and Beijing.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Vogues to the electroclash 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 Teenage Jesus and the Jerks. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Inner City 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Graham Central Station,
Little Man,
Susan Cadogan,
Wighnomy Brothers & Robag Wruhme,
The Human League,
Moby Grape,
Amon Düül,
Goldenarms,
Popol Vuh,
Glambeats Corp.,
Harmonia,
The Gap Band,
Harpers Bizarre,
Johnny Osbourne,
Ituana,
Tropical Tobacco,
Babytalk,
Theoretical Girls,
David McCallum,
Pagans,
Sly & The Family Stone,
John Coltrane,
Vladislav Delay,
Q65,
Gastr Del Sol,
Make Up,
Adolescents,
Camberwell Now,
Gang Starr,
Reuben Wilson,
Soft Cell,
Marcia Griffiths,
Motorama,
Skaos,
Janne Schatter,
Heavy D & The Boyz,
The Sonics,
Section 25,
Pharoah Sanders,
Rosa Yemen,
Pantaleimon,
Notorious Big And Bone Thugs,
Dorothy Ashby,
The Barracudas,
Suicide,
Bootsy Collins,
Ornette Coleman,
Lebanon Hanover,
PIL,
Cymande,
Ultimate Spinach,
David Axelrod,
Dawn Penn,
Delon & Dalcan,
The Martian,
Camouflage,
The Dave Clark Five,
Audionom,
Lalann,
Cluster,
Deakin,
The Kinks, The Kinks, The Kinks, The Kinks.
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.