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 Ecuador and from Paris.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 Lebanon Hanover to the funk 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 the Germs. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Shoche,
DJ Sneak,
8 Eyed Spy,
Dorothy Ashby,
Cal Tjader,
The Seeds,
Todd Rundgren,
Lindisfarne,
Marine Girls,
Fad Gadget,
Radiopuhelimet,
10cc,
John Cale,
Cameo,
Arthur Verocai,
Yazoo,
Skarface,
Liaisons Dangereuses,
John Coltrane,
Cheater Slicks,
Avey Tare,
Spoonie Gee,
Blake Baxter,
Excepter,
OOIOO,
FM Einheit,
Eve St. Jones,
Saccharine Trust,
The Martian,
Gang Green,
Robert Hood,
Quando Quango,
Todd Terry,
Newcleus,
Lonnie Liston Smith,
Monks,
Circle Jerks,
Davy DMX,
Josef K,
Avey Tare's Slasher Flicks,
Kaleidoscope,
U.S. Maple,
Bobby Womack,
Eyeless In Gaza,
Marshall Jefferson,
The Monochrome Set,
Franke,
Eli Mardock,
The Durutti Column,
Warren Ellis,
Ultra Naté,
Byron Stingily,
Gil Scott Heron,
Crash Course in Science,
Flash Fearless,
The Mojo Men,
Isaac Hayes,
Qualms,
A Flock of Seagulls,
Public Enemy,
Animal Collective,
The Saints,
The Techniques, The Techniques, The Techniques, The Techniques.
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.