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 Iceland and from Tehran.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Shuggie Otis to the punk kids.
I played it at Cafe Wha.
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 Sunsets and Hearts. All the underground hits.
All Franke tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin 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 harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Can,
The Gun Club,
Faraquet,
Sad Lovers and Giants,
Funky Four + One,
Talk Talk,
the Swans,
Parry Music,
Kerri Chandler,
Blancmange,
Althea and Donna,
E-Dancer,
Con Funk Shun,
Kool G Rap & DJ Polo,
Maleditus Sound,
Moby Grape,
Nils Olav,
The Seeds,
Morten Harket,
The Fall,
Pantytec,
Gang Green,
Cluster,
Oneida,
The Moleskins,
Second Layer,
The United States of America,
Swell Maps,
Terror Squad Feat. Camron,
Ituana,
Skriet,
New Age Steppers,
Roy Ayers,
Richard Hell and the Voidoids,
MC5,
The Divine Comedy,
Sound Behaviour,
FM Einheit,
Cybotron,
Yazoo,
Scott Walker,
Crispian St. Peters,
Severed Heads,
The Modern Lovers,
Bronski Beat,
Man Parrish,
Judy Mowatt,
Interpol,
Sister Nancy,
The Velvet Underground,
John Holt,
Peter Gordon & Love of Life Orchestra,
The Pop Group,
Cheater Slicks,
Faust,
Avey Tare's Slasher Flicks,
The Wake,
Scrapy,
Colin Newman,
Model 500,
The Slits,
Camouflage,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.