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 El Salvador and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Mexico City 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 The Pretty Things to the punk kids.
I played it at the 40 Watt.
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 David Axelrod. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Sparks,
Eric Dolphy,
The Slits,
Sun City Girls,
New Age Steppers,
Tears for Fears,
The Golliwogs,
The Fuzztones,
Buzzcocks,
Traffic Nightmare,
DNA,
R.M.O.,
Audionom,
Model 500,
Hardrive,
Pharaoh Sanders and the Fire Engines,
Cecil Taylor,
Pet Shop Boys,
Bad Manners,
Masters at Work,
Stetsasonic,
Rahsaan Roland Kirk,
Sexual Harrassment,
Essential Logic,
The Young Rascals,
Sixth Finger,
Bobby Byrd,
The Shadows of Knight,
Sticky Fingaz feat. Raekwon,
Marmalade,
Dorothy Ashby,
Steve Hackett,
Chrome,
Grey Daturas,
Lalo Schifrin,
Rhythm & Sound,
Vaughan Mason & Crew,
Scrapy,
Wally Richardson,
Joyce Sims,
Gastr Del Sol,
Beasts of Bourbon,
Bang On A Can,
Glenn Branca,
Lower 48,
Massinfluence,
Minutemen,
The Smoke,
Fear,
Kauko Röyhkä ja Narttu,
Babytalk,
Altered Images,
the Fania All-Stars,
The United States of America,
Roy Ayers,
Graham Central Station,
Fugazi,
Faraquet,
Rekid,
Vainqueur,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.