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 Kazakhstan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Ultramagnetic MC's to the rap 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 Cecil Taylor. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Q65,
Aloha Tigers,
Captain Beefheart & His Magic Band,
CMW,
Model 500,
Lyres,
New Order,
Royal Trux,
The Mojo Men,
Godley & Creme,
Wings,
The Electric Prunes,
Radio Birdman,
Underground Resistance,
Blake Baxter,
Nils Olav,
The Gap Band,
Babytalk,
Sunsets and Hearts,
Skarface,
Red Lorry Yellow Lorry,
Parry Music,
The Standells,
Rekid,
Curtis Mayfield,
Selector Dub Narcotic,
Cecil Taylor,
The Pop Group,
Funky Four + One,
Lou Reed & John Cale,
Maleditus Sound,
Gary Puckett & The Union Gap,
The Trojans,
Tommy Roe,
Kevin Saunderson,
Johnny Osbourne,
Buzzcocks,
Gang Gang Dance,
Trumans Water,
The Monochrome Set,
Mars,
Los Fastidios,
Marshall Jefferson,
The Knickerbockers,
The Modern Lovers,
Dead Boys,
This Heat,
Accadde A,
Darondo,
The Beau Brummels,
F. McDonald,
Eddi Front,
Wire,
Marvin Gaye,
Bluetip,
Niagra,
Erasure,
Public Enemy,
H. Thieme,
Soft Cell,
The Doors, The Doors, The Doors, The Doors.
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.