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 Germany and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Bremen 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 Robert Palmer 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 Grauzone to the crunk 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 Rakim. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Pylon 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Marcia Griffiths,
Minnie Riperton,
48th St. Collective,
The Happenings,
Suicide,
Black Sheep,
Gil Scott-Heron and Jamie xx,
the Slits,
Moebius,
DeepChord presents Echospace,
The American Breed,
The Remains,
Pussy Galore,
Spoonie Gee,
Crispian St. Peters,
Throbbing Gristle,
Juan Atkins,
Dead Boys,
Sandy B,
Gang Starr,
Nirvana,
X-Ray Spex,
Public Enemy,
Bizarre Inc.,
Donny Hathaway,
Crash Course in Science,
Roxy Music,
The Trojans,
Trumans Water,
Barrington Levy,
In Retrospect,
David Axelrod,
Harry Pussy,
Niagra,
Michelle Simonal,
Ituana,
The Real Kids,
Camouflage,
James Chance & The Contortions,
Marc Almond,
Jesper Dahlbäck,
Thee Headcoats,
June of 44,
Stiv Bators,
Rosa Yemen,
Sam Rivers,
Sex Pistols,
L. Decosne,
Jeff Lynne,
Bobby Hutcherson,
Bronski Beat,
Lyres,
The Chocolate Watch Band,
Pagans,
Quando Quango,
Alton Ellis,
Bobby Byrd,
Lou Reed & Metallica,
Yellowson,
Rod Modell,
Drive Like Jehu,
R.M.O.,
Make Up, Make Up, Make Up, Make Up.
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.