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 Netherlands and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 harpsichord 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 Dorothy Ashby to the punk kids.
I played it at the Astoria.
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 Davy DMX. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Tom Boy 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Magazine,
Howard Jones,
Stetsasonic,
R.M.O.,
Kaleidoscope,
Khruangbin,
Oppenheimer Analysis,
Minny Pops,
Model 500,
Dorothy Ashby,
The Music Machine,
Reagan Youth,
Fort Wilson Riot,
Cal Tjader,
Avey Tare & Kría Brekkan,
Pete Rock & C.L. Smooth,
Marvin Gaye,
The Sisters of Mercy,
The Barracudas,
Bobby Womack,
Ponytail,
Tears for Fears,
EPMD,
Section 25,
The Gories,
John Foxx,
Marshall Jefferson,
Liaisons Dangereuses,
Rakim,
Magma,
Audionom,
Matthew Halsall,
Röyhkä ja Rättö ja Lehtisalo,
La Düsseldorf,
Intrusion,
Jeru the Damaja,
Rites of Spring,
Cameo,
T. Rex,
The Residents,
The Zeros,
Minutemen,
Robert Hood,
Amon Düül,
Black Moon,
Cluster,
Bill Near,
B.T. Express,
Monks,
Teenage Jesus and the Jerks,
Cymande,
the Slits,
Technova,
Dead Boys,
The Five Americans,
The Kinks,
Rapeman,
Andrew Ashong & Theo Parrish,
Radiopuhelimet,
The Trojans,
OOIOO, OOIOO, OOIOO, OOIOO.
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.