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 Afghanistan and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Cameo to the funk kids.
I played it at the Crocodile.
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 Khruangbin. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Trojans 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 '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Maurizio,
The Sonics,
The Standells,
Throbbing Gristle,
Amon Düül II,
Eden Ahbez,
Pere Ubu,
The Music Machine,
The Durutti Column,
The Barracudas,
Circle Jerks,
Bush Tetras,
Black Bananas,
Rhythim Is Rhythim,
Warsaw,
Crispy Ambulance,
Altered Images,
a-ha,
Super Lover Cee & Casanova Rud,
Urselle,
Deepchord,
Liaisons Dangereuses,
Sly & The Family Stone,
the Fania All-Stars,
U.S. Maple,
The Techniques,
Dark Day,
Boogie Down Productions,
Mr. Review,
Masters at Work,
Second Layer,
Hot Snakes,
Severed Heads,
Connie Case,
Gang Starr,
The Move,
The Electric Prunes,
Section 25,
Boredoms,
Stockholm Monsters,
The Sisters of Mercy,
Funkadelic,
Minnie Riperton,
The New Christs,
Quadrant,
Banda Bassotti,
The Mighty Diamonds,
Colin Newman,
Art Ensemble Of Chicago,
Nick Fraelich,
Donny Hathaway,
The Royal Family And The Poor,
Moebius,
Althea and Donna,
Japan,
The Black Dice,
The Seeds,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.