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 Estonia and from Manila.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord 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 Mandrill to the dance 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 Isaac Hayes. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Adolescents,
Deadbeat,
It's A Beautiful Day,
Ken Boothe,
Janne Schatter,
Aswad,
Deakin,
Pharoah Sanders,
Boredoms,
Skriet,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
The Fall,
Kool G Rap & DJ Polo,
Sandy B,
Moebius,
Alice Coltrane,
Public Enemy,
The Blues Magoos,
Gil Scott Heron,
F. McDonald,
Section 25,
The Velvet Underground,
John Coltrane,
The Slackers,
The Monks,
OOIOO,
Blake Baxter,
Ash Ra Tempel,
Deepchord,
Idris Muhammad,
Severed Heads,
Gary Puckett & The Union Gap,
Neil Young & Crazy Horse,
Jacques Brel,
Agitation Free,
The Saints,
Gregory Isaacs,
Bad Manners,
Public Image Ltd.,
Gong,
Red Lorry Yellow Lorry,
Davy DMX,
Ten City,
The Happenings,
Newcleus,
Rotary Connection,
The Alarm Clocks,
Andrew Hill,
Marshall Jefferson,
48th St. Collective,
The Vogues,
Tears for Fears,
The Zeros,
R.M.O.,
Sun Ra,
Blancmange,
Subhumans,
Glambeats Corp.,
The Last Poets,
Scientists,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.