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 Yemen and from Bologna.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Ornette Coleman to the grime kids.
I played it at Trash.
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 Camberwell Now. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
B.T. Express,
The Fugs,
The Sound,
The Motions,
Sun Ra Arkestra,
Joensuu 1685,
Niagra,
Gichy Dan,
Dawn Penn,
Mad Mike,
Animal Collective,
Visage,
The Offenders,
Charles Mingus,
The Angels of Light,
The Leaves,
Japan,
Amon Düül,
Matthew Halsall,
Model 500,
Con Funk Shun,
Funkadelic,
The Durutti Column,
Soul Sonic Force,
Electric Light Orchestra,
Rotary Connection,
Black Bananas,
The Black Dice,
The Move,
Dual Sessions,
Scott Walker,
Mark Hollis,
Public Enemy,
The Peanut Butter Conspiracy,
Loose Ends,
Man Eating Sloth,
Fatback Band,
Piero Umiliani,
Qualms,
The Moleskins,
Symarip,
DNA,
Gerry Rafferty,
Ultravox,
Brothers Johnson,
Leonard Cohen,
Mission of Burma,
Brand Nubian,
Captain Beefheart & His Magic Band,
Half Japanese,
Eurythmics,
Franke,
Q65,
Tropical Tobacco,
The Gap Band,
The Men They Couldn't Hang,
Derrick May,
Mary Jane Girls,
Clear Light,
Teenage Jesus and the Jerks,
Howard Jones,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.