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 Saudi Arabia and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Shanghai 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 rhodes 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 The Doobie Brothers to the jazz kids.
I played it at the Hacienda.
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 Ultra Naté. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Q65 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
X-Ray Spex,
Laurel Aitken,
Wire,
Sparks,
Selector Dub Narcotic,
Quantec,
Siglo XX,
The Wake,
Tres Demented,
Bluetip,
Strawberry Alarm Clock,
New York Dolls,
Barry Ungar,
Neu!,
Technova,
Mark Hollis,
The Slackers,
Lyres,
Eden Ahbez,
Funky Four + One,
Wally Richardson,
Davy DMX,
Big Daddy Kane,
Royal Trux,
Peter Gordon & Love of Life Orchestra,
Wolf Eyes,
Black Bananas,
Fela Kuti,
Rowland S Howard / Lydia Lunch,
The Cowsills,
Angels of Light & Akron/Family,
The Vogues,
The Blackbyrds,
The Fugs,
Soul Sonic Force,
The Mojo Men,
Amon Düül II,
Ossler,
Livin' Joy,
Amazonics,
Marshall Jefferson,
The Raincoats,
Mars,
Stockholm Monsters,
the Germs,
Dead Boys,
Pulsallama,
Tomorrow,
Niagra,
Isaac Hayes,
Rakim,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
Fifty Foot Hose,
Sixth Finger,
Yellowson,
a-ha,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.