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 United States and from Sao Paulo.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 Ten City to the crunk 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 Hot Snakes. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Matthew Bourne,
Bootsy Collins,
Khruangbin,
Black Bananas,
The Doobie Brothers,
Sugar Minott,
Rhythim Is Rhythim,
Idris Muhammad,
The Doors,
Intrusion,
Pylon,
Marvin Gaye,
Los Fastidios,
Super Lover Cee & Casanova Rud,
Kango’s Stein Massive,
Mark Hollis,
Grey Daturas,
Jacques Brel,
Gang Starr,
Pagans,
Whodini,
Terrestrial Tones,
De La Soul & Jungle Brothers,
Man Eating Sloth,
Stetsasonic,
the Fania All-Stars,
The Dead C,
Derrick May,
The Durutti Column,
Selector Dub Narcotic,
Minnie Riperton,
Juan Atkins,
The New Christs,
KRS-One,
Skarface,
Siouxsie and the Banshees,
The Saints,
Agitation Free,
Lindisfarne,
Orchestral Manoeuvres in the Dark,
Lou Reed,
Angels of Light & Akron/Family,
Roxette,
Funky Four + One,
Sex Pistols,
John Cale,
Wasted Youth,
Captain Beefheart & His Magic Band,
the Slits,
Mad Mike,
The Standells,
Jerry's Kids,
MDC,
The Five Americans,
Joensuu 1685,
Blake Baxter,
Eve St. Jones,
Warsaw,
The Blues Magoos,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.