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 Ethiopia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Delon & Dalcan to the punk kids.
I played it at the Astoria.
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 Gong. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
MC5,
Angry Samoans,
Joensuu 1685,
Soft Cell,
Rites of Spring,
Rekid,
Darondo,
Masters at Work,
Alphaville,
Dual Sessions,
Scientists,
Anthony Braxton,
The Invisible,
Manfred Mann's Earth Band,
The Move,
Amazonics,
Rapeman,
Josef K,
DeepChord presents Echospace,
The Leaves,
Pantaleimon,
Pulsallama,
Lou Reed & John Cale,
Andrew Hill,
Bobbi Humphrey,
X-Ray Spex,
the Germs,
Royal Trux,
The Sisters of Mercy,
Country Teasers,
KRS-One,
Con Funk Shun,
Thinking Fellers Union Local 282,
The Golliwogs,
Bauhaus,
Gregory Isaacs,
The Doors,
Fort Wilson Riot,
L. Decosne,
Freddie Wadling,
the Fania All-Stars,
Nico,
Judy Mowatt,
Röyhkä ja Rättö ja Lehtisalo,
The Gories,
Lee Hazlewood,
Swans,
Black Moon,
Pere Ubu,
Lou Reed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kango’s Stein Massive,
Japan,
Aloha Tigers,
Suburban Knight,
Harmonia,
Robert Hood,
Cabaret Voltaire,
Flipper,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.