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 Cambodia and from Calgary.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Music Machine to the grunge kids.
I played it at the Roxy.
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 Lou Reed. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Khruangbin 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 '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Crispy Ambulance,
Eve St. Jones,
The Divine Comedy,
Guru Guru,
Lower 48,
The Fortunes,
Terrestrial Tones,
Slave,
Amon Düül II,
Second Layer,
Glambeats Corp.,
Bobby Byrd,
Jesper Dahlbäck,
Derrick Morgan,
Nik Kershaw,
Bronski Beat,
Sugar Minott,
Amon Düül,
Ponytail,
Frankie Knuckles,
Scan 7,
Dark Day,
The Blackbyrds,
MC5,
Wighnomy Brothers & Robag Wruhme,
Scientists,
Ultravox,
Be Bop Deluxe,
Anakelly,
Donald Byrd,
Tres Demented,
Peter & Gordon,
Rakim,
Funkadelic,
Bobby Sherman,
Marine Girls,
Bang On A Can,
Rotary Connection,
Dead Boys,
The Shadows of Knight,
The Buckinghams,
This Heat,
Jacob Miller,
Robert Görl,
Cameo,
Groovy Waters,
Niagra,
The Leaves,
Stockholm Monsters,
Lightning Bolt,
Sarah Menescal,
Yaz,
Fort Wilson Riot,
Soft Cell,
Deadbeat,
Bluetip,
Super Lover Cee & Casanova Rud,
Negative Approach,
The Fuzztones,
The Trojans, The Trojans, The Trojans, The Trojans.
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.