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 Zambia and from Stockholm.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Spokane 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 at the first Suicide practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 This Heat to the techno 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 Magazine. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Jeff Lynne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Throbbing Gristle,
Oneida,
The Neon Judgement,
Supertramp,
The Shadows of Knight,
The Selecter,
Alphaville,
Ten City,
F. McDonald,
Scratch Acid,
Tim Buckley,
Darondo,
Nick Fraelich,
June Days,
Dorothy Ashby,
Joey Negro,
Rhythm & Sound,
Funkadelic,
The Mummies,
Index,
In Retrospect,
Glambeats Corp.,
The Black Dice,
Roy Ayers Ubiquity,
Pylon,
Black Sheep,
the Germs,
New Order,
The Leaves,
Eve St. Jones,
Stereo Dub,
The Fuzztones,
Jimmy McGriff,
Althea and Donna,
Country Joe & The Fish,
New Age Steppers,
Boredoms,
The Knickerbockers,
Barrington Levy,
Pete Rock & C.L. Smooth,
The Fortunes,
Accadde A,
Godley & Creme,
Lizzy Mercier Descloux,
Underground Resistance,
Scott Walker,
Lyres,
Ken Boothe,
Gichy Dan,
Red Lorry Yellow Lorry,
Massinfluence,
Masters at Work,
Duran Duran,
The Doors,
Strawberry Alarm Clock,
Rufus Thomas,
Jeff Mills,
Eden Ahbez,
Cluster, Cluster, Cluster, Cluster.
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.