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 Sweden 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 1960 to 1973.
I'm losing my edge.
To all the kids in Taipei and Lagos.
I'm losing my edge to the art-school Beijing 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 spring reverb 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 Stiv Bators to the rock 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 Motorama. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
JFA,
Bootsy Collins,
The Moleskins,
Deakin,
Amon Düül II,
Erasure,
Quantec,
Mantronix,
Public Image Ltd.,
The Slackers,
Lonnie Liston Smith,
ABBA,
Agent Orange,
Todd Rundgren,
Metal Thangz,
Lalann,
The Smoke,
Qualms,
Sonic Youth,
The Evens,
The Wake,
The Count Five,
T. Rex,
Boredoms,
A Certain Ratio,
Liliput,
Lou Reed,
Delta 5,
The Shadows of Knight,
Avey Tare,
Gary Puckett & The Union Gap,
Underground Resistance,
The Human League,
New Order,
Fifty Foot Hose,
Kool G Rap & DJ Polo,
Kenny Larkin,
Oppenheimer Analysis,
Junior Murvin,
Con Funk Shun,
Brothers Johnson,
The Names,
Soft Cell,
Eric B and Rakim,
Nik Kershaw,
Man Parrish,
Deepchord,
The Slits,
Marc Romboy vs. Booka Shade,
The Music Machine,
Little Man,
Lee Hazlewood,
Alton Ellis,
Ornette Coleman,
8 Eyed Spy,
Gil Scott-Heron & Brian Jackson,
L. Decosne,
Janne Schatter,
Kas Product,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.