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 Ethiopia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Accra 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 guitar 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 The Barracudas to the funk kids.
I played it at the 40 Watt.
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 Lebanon Hanover. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Altered Images,
Bobby Sherman,
Deutsch Amerikanische Freundschaft,
Yellowson,
Röyhkä ja Rättö ja Lehtisalo,
Lungfish,
Hot Snakes,
Thee Headcoats,
Orchestral Manoeuvres in the Dark,
The Remains,
Dawn Penn,
Television,
Motorama,
Con Funk Shun,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
Alison Limerick,
Zero Boys,
Jerry Gold Smith,
The Modern Lovers,
Jimmy McGriff,
Scratch Acid,
Q65,
Lower 48,
Essential Logic,
Minnie Riperton,
Eve St. Jones,
Alton Ellis,
Gabor Szabo,
Marc Romboy vs. Booka Shade,
Byron Stingily,
The Monks,
Lonnie Liston Smith,
Basic Channel,
L. Decosne,
Underground Resistance,
Tim Buckley,
Marmalade,
Eddi Front,
Magazine,
The Pop Group,
Grauzone,
Section 25,
Brass Construction,
The Raincoats,
James Chance & The Contortions,
Amon Düül II,
A Flock of Seagulls,
Bad Manners,
The Skatalites,
Bill Wells,
K-Klass,
Ituana,
Cabaret Voltaire,
Skriet,
The West Coast Pop Art Experimental Band,
Camouflage,
Terry Callier,
Gong,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.