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 Guyana and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Quantec to the electroclash 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 Girls At Our Best!. All the underground hits.
All Television tracks. I heard you have a vinyl of every Pulsallama 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Cameo,
Bill Wells,
Brick,
The Detroit Cobras,
Harry Pussy,
Newcleus,
Lalann,
Section 25,
Sun City Girls,
The Fall,
a-ha,
Jawbox,
Eurythmics,
Lou Christie,
Bad Manners,
Deutsch Amerikanische Freundschaft,
Pagans,
JFA,
Ajijia Myrayebe,
Manfred Mann's Earth Band,
Scion,
Fad Gadget,
Circle Jerks,
Glambeats Corp.,
Jandek,
A Flock of Seagulls,
Von Mondo,
Surgeon,
Negative Approach,
It's A Beautiful Day,
Babytalk,
cv313,
The Durutti Column,
Wally Richardson,
The Dead C,
John Holt,
Faust,
Avey Tare,
Technova,
OOIOO,
Heavy D & The Boyz,
Duran Duran,
Lungfish,
Crash Course in Science,
Subhumans,
Jesper Dahlbäck,
The Electric Prunes,
Beasts of Bourbon,
Donald Byrd,
Big Daddy Kane,
Marc Almond,
Stockholm Monsters,
Derrick Morgan,
Albert Ayler,
New York Dolls,
Moebius,
Freddie Wadling,
The Happenings,
Basic Channel,
The Last Poets,
The American Breed,
Icehouse, Icehouse, Icehouse, Icehouse.
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.