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 Burundi and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1975.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Chris & Cosey to the funk 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 Carl Craig. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Fluxion,
Ash Ra Tempel,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
Sparks,
Bobby Hutcherson,
Agent Orange,
The Pretty Things,
Avey Tare's Slasher Flicks,
The Detroit Cobras,
Bobby Womack,
Jeff Mills,
Rites of Spring,
Inner City,
Joensuu 1685,
The Electric Prunes,
Arab on Radar,
Ponytail,
John Holt,
L. Decosne,
Matthew Halsall,
Ralphi Rosario,
Kings Of Tomorrow,
Leonard Cohen,
The Golliwogs,
Harmonia,
Arthur Verocai,
Oppenheimer Analysis,
Slick Rick,
Depeche Mode,
Pylon,
Gang Green,
Funky Four + One,
Alphaville,
Traffic Nightmare,
Aural Exciters,
New York Dolls,
Echospace,
Blossom Toes,
Judy Mowatt,
Quantec,
Siouxsie and the Banshees,
Selector Dub Narcotic,
Rahsaan Roland Kirk,
Gerry Rafferty,
Tom Boy,
Girls At Our Best!,
Deadbeat,
Metal Thangz,
Livin' Joy,
Black Moon,
Camberwell Now,
Don Cherry,
The Move,
Black Bananas,
Aswad,
Funkadelic,
Nas,
Minutemen,
Visionaries,LMNO, T- Love & Iriscience,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.