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 Ukraine and from London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Houston 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 Nico to the jazz kids.
I played it at the Spitz.
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 Underground Resistance. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Bronski Beat 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Crispian St. Peters,
Donald Byrd,
One Last Wish,
Wally Richardson,
8 Eyed Spy,
Moss Icon,
Negative Approach,
Piero Umiliani,
Theoretical Girls,
Alice Coltrane,
Popol Vuh,
Dual Sessions,
The Monks,
Chris Corsano,
Suburban Knight,
Man Eating Sloth,
Bobbi Humphrey,
Visionaries,LMNO, T- Love & Iriscience,
The Durutti Column,
Leonard Cohen,
Kayak,
Jerry Gold Smith,
Rakim,
UT,
Glenn Branca,
The Blackbyrds,
Lee Hazlewood,
Swans,
Joey Negro,
Rod Modell,
KRS-One,
Susan Cadogan,
Nik Kershaw,
Selector Dub Narcotic,
Cymande,
Kool G Rap & DJ Polo,
Rahsaan Roland Kirk,
E-Dancer,
T.S.O.L.,
Simply Red,
Be Bop Deluxe,
Spandau Ballet,
Avey Tare,
Public Image Ltd.,
The Star Department,
Sugar Minott,
The Remains,
Pylon,
Average White Band,
Adolescents,
Erasure,
Stiv Bators,
La Düsseldorf,
Dead Boys,
Barclay James Harvest,
Sunsets and Hearts,
Juan Atkins,
Sexual Harrassment,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.