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 Kazakhstan and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Philadelphia 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 Tom Verlaine 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 Misunderstood to the disco 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Adolescents 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Cal Tjader,
Vaughan Mason & Crew,
Heavy D & The Boyz,
Lizzy Mercier Descloux,
Yusef Lateef,
Make Up,
Funkadelic,
The Black Dice,
Roy Ayers Ubiquity,
Symarip,
Altered Images,
Absolute Body Control,
Audionom,
Brothers Johnson,
The Barracudas,
Whodini,
Lou Reed & Metallica,
The Slackers,
Q65,
The Smiths,
Gil Scott Heron,
John Cale,
The Evens,
Cabaret Voltaire,
the Soft Cell,
Grandmaster Flash and the Furious Five,
Model 500,
The American Breed,
The Red Krayola,
Surgeon,
Marcia Griffiths,
Gil Scott-Heron and Jamie xx,
Anakelly,
Rhythim Is Rhythim,
Radiopuhelimet,
Cybotron,
Country Teasers,
Trumans Water,
Sonny Sharrock,
Alice Coltrane,
Graham Central Station,
Harpers Bizarre,
Alison Limerick,
Infiniti,
Ken Boothe,
Crime,
Stereo Dub,
Gichy Dan,
Marmalade,
The Royal Family And The Poor,
The Smoke,
Technova,
The Victims,
Ronnie Foster,
Nation of Ulysses,
Brass Construction,
The Fire Engines,
Blake Baxter,
James Chance & The Contortions,
Notorious BIG live in Amsterdam,
Bobby Hutcherson,
CMW,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.