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 Comoros and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 Camron Feat. Memphis Bleek And Beenie Seigel to the jazz kids.
I played it at CBGB's.
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 Stiv Bators. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Jawbox 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
John Foxx,
Audionom,
Tomorrow,
Andrew Hill,
The Gories,
Mantronix,
Rowland S Howard / Lydia Lunch,
Public Enemy,
The Cowsills,
Davy DMX,
Mad Mike,
FM Einheit,
Prince Buster,
The Move,
The Skatalites,
Sight & Sound,
Con Funk Shun,
Jacob Miller,
Louis and Bebe Barron,
Gang Green,
Mr. Review,
Gian Franco Pienzio,
The Fortunes,
Ohio Players,
Cecil Taylor,
Glambeats Corp.,
Larry & the Blue Notes,
Minor Threat,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scrapy,
Gong,
Scott Walker,
Outsiders,
Frankie Knuckles,
China Crisis,
The Angels of Light,
Eurythmics,
The Fuzztones,
The Slits,
Lebanon Hanover,
Zapp,
Judy Mowatt,
Janne Schatter,
New Order,
Nirvana,
Barry Ungar,
Marshall Jefferson,
Rapeman,
Deepchord,
Avey Tare & Kría Brekkan,
Can,
Marmalade,
Heavy D & The Boyz,
Cal Tjader,
The Victims,
The Mojo Men,
The Busters,
The Smiths, The Smiths, The Smiths, The Smiths.
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.