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 Qatar and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Mexico City 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Zapp to the jazz 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 The Slits. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Joensuu 1685 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Barrington Levy,
The Red Krayola,
Andrew Hill,
Piero Umiliani,
Underground Resistance,
Gregory Isaacs,
Rufus Thomas,
The Wake,
Bobby Byrd,
Barry Ungar,
Bluetip,
Section 25,
Lower 48,
Parry Music,
La Düsseldorf,
ABC,
Schoolly D,
Agitation Free,
Ornette Coleman,
Joyce Sims,
Rosa Yemen,
Young Marble Giants,
Heaven 17,
Nils Olav,
The Smoke,
The Blackbyrds,
8 Eyed Spy,
Slick Rick,
The Martian,
London Community Gospel Choir,
Throbbing Gristle,
The Cosmic Jokers,
Masters at Work,
Audionom,
Saccharine Trust,
H. Thieme,
Soulsonic Force,
Dorothy Ashby,
Delon & Dalcan,
Groovy Waters,
Electric Light Orchestra,
The Happenings,
John Holt,
Kayak,
Suicide,
Whodini,
Alton Ellis,
Scion,
Slave,
Jerry Gold Smith,
The Selecter,
Frankie Knuckles,
DNA,
Aswad,
Peter and Kerry,
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
David Axelrod,
Kerri Chandler,
Interpol, Interpol, Interpol, Interpol.
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.