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 Albania and from Cairo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Madrid 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 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 Nick Fraelich to the crunk kids.
I played it at the Crocodile.
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 Graham Central Station. All the underground hits.
All Monks tracks. I heard you have a vinyl of every The Grass Roots 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 '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Brand Nubian,
Robert Hood,
Johnny Osbourne,
David Axelrod,
Boredoms,
Faust,
Pagans,
Joyce Sims,
Fluxion,
Peter and Kerry,
Scrapy,
Sarah Menescal,
Jawbox,
Popol Vuh,
Andrew Hill,
Todd Terry,
Roxy Music,
Angry Samoans,
Black Pus,
The Fire Engines,
Crispy Ambulance,
Rhythm & Sound,
Kango’s Stein Massive,
The Chocolate Watch Band,
Lonnie Liston Smith,
Camberwell Now,
Oppenheimer Analysis,
Deadbeat,
The Electric Prunes,
Supertramp,
Rekid,
Bang On A Can,
Cecil Taylor,
Zero Boys,
Sad Lovers and Giants,
Harmonia,
Con Funk Shun,
Patti Smith,
Captain Beefheart & His Magic Band,
The J.B.'s,
Aaron Thompson,
Jandek,
Alton Ellis,
Porter Ricks,
Newcleus,
Ituana,
Erasure,
Dual Sessions,
Thompson Twins,
Niagra,
The Monochrome Set,
Janne Schatter,
F. McDonald,
Pantytec,
The Invisible,
Audionom,
Sound Behaviour,
Bluetip, Bluetip, Bluetip, Bluetip.
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.