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 East Timor and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and New York.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Unrelated Segments to the punk 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Johnny Osbourne 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Nick Fraelich,
Deutsch Amerikanische Freundschaft,
Yazoo,
Brothers Johnson,
Tears for Fears,
New Age Steppers,
The Remains,
The Index,
The Red Krayola,
Ten City,
The American Breed,
the Soft Cell,
Joyce Sims,
Sällskapet,
Porter Ricks,
DeepChord presents Echospace,
Minny Pops,
Lee Hazlewood,
R.M.O.,
Toni Rubio,
Crooked Eye,
The Jesus and Mary Chain,
Malaria!,
Davy DMX,
Vaughan Mason & Crew,
48th St. Collective,
Joe Finger,
Bush Tetras,
Janne Schatter,
Groovy Waters,
Infiniti,
The Toasters,
Quadrant,
Sonic Youth,
Pantytec,
Intrusion,
David McCallum,
David Bowie,
The Fall,
Bobby Hutcherson,
The Litter,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
June Days,
The Birthday Party,
Larry & the Blue Notes,
Suburban Knight,
Brass Construction,
Delta 5,
Charles Mingus,
Soft Machine,
The Busters,
MDC,
Ice-T,
Jacques Brel,
Crispian St. Peters,
Boz Scaggs,
Yaz,
Pulsallama,
Mad Mike,
Jeru the Damaja,
Animal Collective, Animal Collective, Animal Collective, Animal 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.