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 Serbia and from Johannesburg.
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 1967 to 1978.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Teenage Jesus and the Jerks to the disco kids.
I played it at the Hacienda.
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 Pretty Things. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Kauko Röyhkä ja Narttu,
Scratch Acid,
Black Flag,
The Offenders,
The West Coast Pop Art Experimental Band,
Pierre Henry,
Tears for Fears,
Public Image Ltd.,
Depeche Mode,
Avey Tare & Kría Brekkan,
Little Man,
Yazoo,
Tropical Tobacco,
the Association,
Bobby Sherman,
The Star Department,
Visionaries,LMNO, T- Love & Iriscience,
The Jesus and Mary Chain,
The Fugs,
Orchestral Manoeuvres in the Dark,
Selector Dub Narcotic,
Television,
Khruangbin,
Simply Red,
Joe Smooth,
Bronski Beat,
Silicon Teens,
Rites of Spring,
Idris Muhammad,
Bizarre Inc.,
Nik Kershaw,
Pantaleimon,
The Cramps,
Bad Manners,
Mo-Dettes,
X-Ray Spex,
MC5,
Captain Beefheart & His Magic Band,
OOIOO,
Gil Scott Heron,
Alice Coltrane,
Model 500,
Motorama,
Robert Wyatt,
Angels of Light & Akron/Family,
This Heat,
Gian Franco Pienzio,
Black Pus,
Matthew Halsall,
Ice-T,
Reuben Wilson,
Ultra Naté,
The Vogues,
Scott Walker,
Cymande,
Brick,
Colin Newman,
Joe Finger,
Neil Young,
Main Source, Main Source, Main Source, Main Source.
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.