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 Tanzania and from Lille.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Pulsallama to the disco 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 Kurtis Blow. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Johnny Osbourne,
Tom Boy,
The Sound,
John Holt,
It's A Beautiful Day,
Bill Wells,
Visage,
Schoolly D,
The Skatalites,
The Happenings,
Joensuu 1685,
Henry Cow,
The Cosmic Jokers,
Pantaleimon,
Oblivians,
Marcia Griffiths,
Popol Vuh,
Fort Wilson Riot,
the Fania All-Stars,
Erasure,
Saccharine Trust,
Justin Hinds & The Dominoes,
Frankie Knuckles,
The Misunderstood,
The Leaves,
Bootsy Collins,
Crispian St. Peters,
Gang of Four,
Glenn Branca,
Ultramagnetic MC's,
Black Sheep,
Joe Finger,
Japan,
Ice-T,
Rahsaan Roland Kirk,
Jesper Dahlback,
MC5,
Inner City,
Robert Görl,
Quadrant,
Funkadelic,
Tomorrow,
Public Enemy,
Gang Starr,
the Human League,
The Walker Brothers,
The Blackbyrds,
Stetsasonic,
Monks,
The Young Rascals,
Orchestral Manoeuvres in the Dark,
Oneida,
Teenage Jesus and the Jerks,
Kauko Röyhkä ja Narttu,
The Cowsills,
Nick Fraelich,
U.S. Maple,
Monolake,
Lonnie Liston Smith,
the Slits,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.