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 Kazakhstan and from Mexico City.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Lyon 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 guitar sounds with much patience.
I was there when Lou Reed 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 Nirvana to the disco kids.
I played it at the Spitz.
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 Gang of Four. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Girls At Our Best!,
Curtis Mayfield,
Johnny Clarke,
Blancmange,
Lightning Bolt,
Junior Murvin,
Robert Görl,
La Düsseldorf,
World's Most,
Roxette,
Crooked Eye,
Clear Light,
Donny Hathaway,
Kevin Saunderson,
Piero Umiliani,
Bluetip,
Warsaw,
Roy Ayers,
Eve St. Jones,
Cal Tjader,
Joe Smooth,
Young Marble Giants,
Ultra Naté,
Khruangbin,
Gary Puckett & The Union Gap,
Ultravox,
Chris Corsano,
Television Personalities,
The West Coast Pop Art Experimental Band,
Amon Düül,
Cymande,
Icehouse,
London Community Gospel Choir,
Terrestrial Tones,
Frankie Knuckles,
Metal Thangz,
The Fuzztones,
Sad Lovers and Giants,
Unwound,
The Gap Band,
K-Klass,
Lonnie Liston Smith,
Joyce Sims,
Hot Snakes,
Deutsch Amerikanische Freundschaft,
Robert Hood,
The Invisible,
PIL,
Dorothy Ashby,
Essential Logic,
DeepChord presents Echospace,
Strawberry Alarm Clock,
Sixth Finger,
Mr. Review,
Stockholm Monsters,
CMW,
Blake Baxter,
Pagans,
Toni Rubio,
The Monks, The Monks, The Monks, The Monks.
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.