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 Cambodia and from Winnipeg.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Angels of Light & Akron/Family to the punk kids.
I played it at the Roxy.
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 Technova. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Louis and Bebe Barron,
The Neon Judgement,
Unwound,
Scientists,
Fatback Band,
Brass Construction,
Delon & Dalcan,
Cybotron,
Dead Boys,
Minny Pops,
B.T. Express,
Traffic Nightmare,
The Barracudas,
Audionom,
Wighnomy Brothers & Robag Wruhme,
Warsaw,
Sixth Finger,
The Litter,
Pulsallama,
Byron Stingily,
Harmonia,
The Associates,
Cabaret Voltaire,
Lou Reed & John Cale,
Alison Limerick,
E-Dancer,
Q65,
Captain Beefheart & His Magic Band,
The American Breed,
The Dirtbombs,
Donald Byrd,
Liaisons Dangereuses,
Lyres,
Marc Romboy vs. Booka Shade,
DNA,
Mission of Burma,
Mantronix,
Hoover,
The Young Rascals,
Sight & Sound,
Flash Fearless,
A Certain Ratio,
Tom Boy,
Sunsets and Hearts,
De La Soul & Jungle Brothers,
Orchestral Manoeuvres in the Dark,
Gil Scott-Heron and Jamie xx,
Rosa Yemen,
Ronan,
Ossler,
Blancmange,
Howard Jones,
Underground Resistance,
Skriet,
Grauzone,
Matthew Bourne,
Eli Mardock,
Fad Gadget,
Bizarre Inc.,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.