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 Netherlands and from Stockholm.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Jakarta 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 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 Lonnie Liston Smith to the rock kids.
I played it at the Troubador.
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 Man Parrish. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every The Fire Engines 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Godley & Creme,
Q65,
Crash Course in Science,
48th St. Collective,
Zapp,
Slick Rick,
Public Image Ltd.,
Sarah Menescal,
Camouflage,
ABC,
Unwound,
Grey Daturas,
The Beau Brummels,
Archie Shepp,
Kool Moe Dee,
The Monochrome Set,
Khruangbin,
New York Dolls,
Heavy D & The Boyz,
The Associates,
Groovy Waters,
Robert Wyatt,
Darondo,
Bauhaus,
Marcia Griffiths,
Accadde A,
Pussy Galore,
Bobby Hutcherson,
the Association,
Cybotron,
CMW,
Dr. Dre and Snoop Doggy Dog,
Yellowson,
Prince Buster,
Q and Not U,
X-101,
Bobby Byrd,
Curtis Mayfield,
the Swans,
Japan,
Avey Tare & Kría Brekkan,
Angry Samoans,
Tropical Tobacco,
Gastr Del Sol,
Sly & The Family Stone,
The Men They Couldn't Hang,
Moby Grape,
Roxy Music,
Boredoms,
Kerri Chandler,
Delta 5,
Matthew Halsall,
Saccharine Trust,
Brothers Johnson,
The Smoke,
Agitation Free,
Hoover,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.