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 Laos and from Manchester.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Donald Fagen 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 The Pop Group to the grime 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 Stereo Dub. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Pylon 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Stockholm Monsters,
Negative Approach,
Joensuu 1685,
The J.B.'s,
Rod Modell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
E-Dancer,
Nation of Ulysses,
Anthony Braxton,
Janne Schatter,
The Seeds,
The Royal Family And The Poor,
Brothers Johnson,
The Cowsills,
Slave,
La Düsseldorf,
The Litter,
Public Image Ltd.,
Shoche,
Grandmaster Flash and the Furious Five,
Crime,
Con Funk Shun,
David Axelrod,
Colin Newman,
Angry Samoans,
Second Layer,
Ultravox,
the Sonics,
Fear,
Deadbeat,
Gil Scott-Heron & Brian Jackson,
the Human League,
Bootsy Collins,
Kurtis Blow,
Peter Gordon & Love of Life Orchestra,
Wally Richardson,
ABC,
Camberwell Now,
Bobby Hutcherson,
Country Teasers,
The Toasters,
Ken Boothe,
Chris Corsano,
Kool G Rap & DJ Polo,
Jeff Lynne,
The Walker Brothers,
Kayak,
Saccharine Trust,
Bobby Byrd,
Animal Collective,
DNA,
Erasure,
Nils Olav,
Bobby Sherman,
cv313,
Monolake,
Vaughan Mason & Crew,
Albert Ayler,
Brick,
Flamin' Groovies,
Smog,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.