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 Benin and from Sao Paulo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Avey Tare to the funk 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 Faraquet. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Soul Sonic Force 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Siouxsie and the Banshees,
Oppenheimer Analysis,
Jeff Mills,
Bizarre Inc.,
Scan 7,
Rotary Connection,
Pulsallama,
The Move,
U.S. Maple,
The Jesus and Mary Chain,
Bob Dylan,
Funky Four + One,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Shoche,
kango's stein massive,
Maurizio,
The Kinks,
The Remains,
Funkadelic,
Barry Ungar,
Flipper,
Henry Cow,
Inner City,
Stereo Dub,
Pete Rock & C.L. Smooth,
Pharoah Sanders,
Fear,
The Fuzztones,
Notorious Big And Bone Thugs,
Gang Starr,
World's Most,
The Martian,
Los Fastidios,
Prince Buster,
Gian Franco Pienzio,
Basic Channel,
Bang On A Can,
Todd Rundgren,
The American Breed,
The Men They Couldn't Hang,
The Alarm Clocks,
Radiopuhelimet,
Sight & Sound,
Lakeside,
Howard Jones,
The Red Krayola,
Symarip,
Vladislav Delay,
The Misunderstood,
Aloha Tigers,
Thinking Fellers Union Local 282,
Eli Mardock,
In Retrospect,
John Coltrane,
Sparks,
Danielle Patucci,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.