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 Antigua and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Manila.
I'm losing my edge to the art-school Halifax 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 Young Rascals to the disco 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 Lou Reed. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
AZ,
Notorious BIG live in Amsterdam,
Robert Görl,
Isaac Hayes,
Mo-Dettes,
Pantytec,
Ultra Naté,
Johnny Clarke,
Marshall Jefferson,
N.O.R.E. Featuring Pharrell,
Wings,
Rotary Connection,
Rekid,
The Monochrome Set,
Rod Modell,
Sandy B,
the Soft Cell,
R.M.O.,
The Dirtbombs,
Agent Orange,
Brick,
Pharaoh Sanders and the Fire Engines,
A Certain Ratio,
Oneida,
Juan Atkins,
Skarface,
The Skatalites,
Terrestrial Tones,
David Bowie,
Sunsets and Hearts,
JFA,
The Human League,
Jerry's Kids,
Charles Mingus,
The Sound,
Judy Mowatt,
The Remains,
Gang of Four,
Glenn Branca,
Jawbox,
Animal Collective,
Beasts of Bourbon,
Funkadelic,
It's A Beautiful Day,
Zero Boys,
Bang on a Can All-Stars,
Groovy Waters,
Mr. Review,
Outsiders,
Jimmy McGriff,
Kango’s Stein Massive,
Bobbi Humphrey,
DNA,
Pole,
Wighnomy Brothers & Robag Wruhme,
The Index,
Amon Düül,
Rhythim Is Rhythim,
Simply Red,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.