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 Tunisia and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Stiv Bators to the rock 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 Morten Harket. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Terror Squad Feat. Camron,
Oppenheimer Analysis,
X-102,
Sister Nancy,
E-Dancer,
The Last Poets,
Crispy Ambulance,
Gang of Four,
Sonic Youth,
Notorious Big And Bone Thugs,
Sunsets and Hearts,
Rahsaan Roland Kirk,
Eurythmics,
Bluetip,
PIL,
John Lydon,
Dr. Dre and Snoop Doggy Dog,
FM Einheit,
Roxette,
Orchestral Manoeuvres in the Dark,
Easy Going,
The Fire Engines,
Eddi Front,
Deutsch Amerikanische Freundschaft,
Jeru the Damaja,
Sexual Harrassment,
Harry Pussy,
Nas,
Pharaoh Sanders and the Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warren Ellis,
Au Pairs,
Drexciya,
X-Ray Spex,
Aaron Thompson,
Soul II Soul,
New York Dolls,
Loose Ends,
Deepchord,
Bizarre Inc.,
Joensuu 1685,
Soft Machine,
Mandrill,
Black Sheep,
Public Image Ltd.,
48th St. Collective,
Severed Heads,
Gil Scott-Heron & Brian Jackson,
Jerry's Kids,
Wolf Eyes,
Fort Wilson Riot,
Roy Ayers Ubiquity,
Danielle Patucci,
Theoretical Girls,
Todd Rundgren,
Infiniti,
Freddie Wadling,
Charles Mingus,
Minnie Riperton,
The Mummies,
Con Funk Shun,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.