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 Equatorial Guinea and from Taipei.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the dance 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 Marc Almond. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Heavy D & The Boyz,
the Fania All-Stars,
Intrusion,
Henry Cow,
Cabaret Voltaire,
Saccharine Trust,
John Foxx,
Liaisons Dangereuses,
Young Marble Giants,
Moby Grape,
The Doobie Brothers,
The Move,
Connie Case,
Fort Wilson Riot,
Skarface,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Bizarre Inc.,
The Raincoats,
Kaleidoscope,
Thinking Fellers Union Local 282,
The Neon Judgement,
Barbara Tucker,
Stereo Dub,
Aswad,
Black Moon,
Little Man,
Louis and Bebe Barron,
The Smiths,
The J.B.'s,
London Community Gospel Choir,
Brothers Johnson,
Scan 7,
This Heat,
Ronan,
Cluster,
Yusef Lateef,
Lightning Bolt,
Tom Boy,
Sly & The Family Stone,
Surgeon,
The Zeros,
The Tremeloes,
Q and Not U,
Nils Olav,
DJ Style,
Liliput,
Captain Beefheart & His Magic Band,
Stiv Bators,
Bob Dylan,
Funkadelic,
Big Daddy Kane,
Matthew Bourne,
Gary Puckett & The Union Gap,
Duran Duran,
Make Up,
Sad Lovers and Giants,
The Young Rascals,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.