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 Azerbaijan and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Columbus 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Arab on Radar to the grime kids.
I played it at Trash.
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 Aswad. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Joy Division,
Wire,
Chris Corsano,
The Men They Couldn't Hang,
Vladislav Delay,
Dorothy Ashby,
Jacques Brel,
Big Daddy Kane,
Cymande,
CMW,
Ponytail,
Black Sheep,
Roy Ayers Ubiquity,
Ultra Naté,
the Association,
Public Enemy,
Shoche,
Dual Sessions,
Sun City Girls,
In Retrospect,
Rosa Yemen,
The Martian,
Jesper Dahlbäck,
Notorious BIG live in Amsterdam,
Soul Sonic Force,
the Normal,
The New Christs,
Delta 5,
Bobby Womack,
Bobby Byrd,
Barbara Tucker,
the Swans,
Half Japanese,
Cybotron,
Japan,
Main Source,
New Order,
The Shadows of Knight,
Fugazi,
Aswad,
Alison Limerick,
Swell Maps,
Davy DMX,
Lebanon Hanover,
The Alarm Clocks,
The Evens,
Beasts of Bourbon,
Anakelly,
The Gladiators,
Quando Quango,
Swans,
The Fortunes,
Lungfish,
Kool G Rap & DJ Polo,
Tubeway Army,
F. McDonald,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.