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 Kenya and from Beijing.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Second Layer to the rap kids.
I played it at Cafe Wha.
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 Harry Pussy. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Joey Negro 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Delta 5,
Ash Ra Tempel,
The Cowsills,
The Fortunes,
Tropical Tobacco,
Rowland S Howard / Lydia Lunch,
FM Einheit,
Cheater Slicks,
Chrome,
Urselle,
Byron Stingily,
Boz Scaggs,
ABBA,
The United States of America,
Röyhkä ja Rättö ja Lehtisalo,
World's Most,
Brass Construction,
Sixth Finger,
Harmonia,
The J.B.'s,
Ossler,
The Sonics,
Masters at Work,
Kayak,
The Motions,
Talk Talk,
Darondo,
Neu!,
The Monochrome Set,
Loose Ends,
Major Organ And The Adding Machine,
Ornette Coleman,
Yaz,
Roy Ayers Ubiquity,
Jawbox,
the Slits,
Connie Case,
Stereo Dub,
Skarface,
Art Ensemble Of Chicago,
The Litter,
Soft Machine,
Negative Approach,
Faust,
Public Enemy,
Hot Snakes,
E-Dancer,
Steve Hackett,
Basic Channel,
Bootsy Collins,
Rod Modell,
F. McDonald,
Harpers Bizarre,
Underground Resistance,
Laurel Aitken,
Oblivians,
Sad Lovers and Giants,
Sly & The Family Stone,
Slick Rick,
Interpol,
Lightning Bolt,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.