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 Syria and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator 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 Minny Pops to the punk kids.
I played it at CBGB's.
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 Ohio Players. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Flesh Eaters 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Rekid,
Lakeside,
Drive Like Jehu,
Pharoah Sanders,
Lyres,
Zapp,
Archie Shepp,
Procol Harum,
Masters at Work,
Johnny Osbourne,
Justin Hinds & The Dominoes,
Sam Rivers,
the Association,
DJ Style,
Mo-Dettes,
Brick,
Delta 5,
Skriet,
Mary Jane Girls,
The Index,
Teenage Jesus and the Jerks,
Eric B and Rakim,
Roy Ayers Ubiquity,
Avey Tare,
Pantytec,
the Normal,
Thinking Fellers Union Local 282,
John Lydon,
The Mummies,
Cecil Taylor,
Kerrie Biddell,
Icehouse,
H. Thieme,
Faraquet,
Dual Sessions,
Gil Scott-Heron and Jamie xx,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Nick Fraelich,
Parry Music,
DNA,
Deakin,
Andrew Ashong & Theo Parrish,
Eve St. Jones,
The Alarm Clocks,
Moss Icon,
Model 500,
MC5,
Rakim,
Eurythmics,
Surgeon,
In Retrospect,
The Fire Engines,
The Remains,
Oppenheimer Analysis,
The Five Americans,
Chrome,
Monolake,
Josef K,
Neil Young & Crazy Horse,
Ken Boothe,
OOIOO,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.