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 Azerbaijan and from Columbus.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Houston and Lyon.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Doors to the rock 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 New Order. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
John Holt,
Cluster,
Half Japanese,
Royal Trux,
Mary Jane Girls,
Magma,
Terrestrial Tones,
The Mighty Diamonds,
Marcia Griffiths,
Gichy Dan,
Gian Franco Pienzio,
Frankie Knuckles,
the Germs,
The Velvet Underground,
Schoolly D,
Minnie Riperton,
The Count Five,
The Moody Blues,
Robert Wyatt,
A Certain Ratio,
Alphaville,
Nils Olav,
Simply Red,
Joey Negro,
Judy Mowatt,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Robert Hood,
The Royal Family And The Poor,
Kauko Röyhkä ja Narttu,
The Electric Prunes,
The Martian,
8 Eyed Spy,
Joyce Sims,
Rufus Thomas,
Avey Tare's Slasher Flicks,
Rhythm & Sound,
D'Angelo,
Y Pants,
Colin Newman,
Gil Scott-Heron and Jamie xx,
Whodini,
Jesper Dahlbäck,
Althea and Donna,
Q and Not U,
The Pretty Things,
It's A Beautiful Day,
Derrick Morgan,
Siglo XX,
A Flock of Seagulls,
Negative Approach,
Sun Ra,
Kayak,
the Normal,
Selector Dub Narcotic,
The Slits,
Ultra Naté,
Eden Ahbez,
Slave,
Quando Quango,
Lindisfarne,
Tomorrow,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.