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 Comoros and from Jakarta.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 The Sisters of Mercy to the rap kids.
I played it at the Hacienda.
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 Spoonie Gee. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Parry Music,
The Standells,
Crooked Eye,
MC5,
Mr. Review,
Glambeats Corp.,
Country Teasers,
Gang Starr,
Stetsasonic,
John Lydon,
Bang On A Can,
The Fortunes,
Iggy Pop,
Lonnie Liston Smith,
Talk Talk,
The Real Kids,
The Motions,
D'Angelo,
Siouxsie and the Banshees,
The Modern Lovers,
The Victims,
Index,
the Slits,
Babytalk,
Sparks,
Archie Shepp,
LL Cool J,
Brick,
Arthur Verocai,
Roger Hodgson,
Morten Harket,
Thompson Twins,
Byron Stingily,
Visage,
The Electric Prunes,
Andrew Hill,
Todd Rundgren,
Gil Scott-Heron & Brian Jackson,
The Doors,
Gil Scott Heron,
Reagan Youth,
Barrington Levy,
The Evens,
Aloha Tigers,
Aswad,
Jimmy McGriff,
The Pop Group,
The J.B.'s,
The Trojans,
The Red Krayola,
Joe Smooth,
Lower 48,
Bobby Byrd,
Eyeless In Gaza,
Delon & Dalcan,
Leonard Cohen,
Unrelated Segments,
Radio Birdman,
Model 500,
The Stooges,
Rhythim Is Rhythim,
Letta Mbulu,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.