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 Vietnam and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Cairo and Manchester.
I'm losing my edge to the art-school Woodstock 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 Michael McDonald 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 Mr. Review to the crunk kids.
I played it at the Astoria.
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 The Offenders. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '90s.
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 Motorama record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Mandrill,
London Community Gospel Choir,
Siglo XX,
Archie Shepp,
Rowland S Howard / Lydia Lunch,
Nico,
Zero Boys,
Main Source,
Aaron Thompson,
Sarah Menescal,
Kango’s Stein Massive,
The Neon Judgement,
Porter Ricks,
Lebanon Hanover,
Subhumans,
Dawn Penn,
Second Layer,
Richard Hell and the Voidoids,
OOIOO,
David Bowie,
Electric Light Orchestra,
Teenage Jesus and the Jerks,
Mission of Burma,
Electric Prunes,
Gang Starr,
Ultimate Spinach,
Babytalk,
Gil Scott Heron,
Roy Ayers,
Gil Scott-Heron & Brian Jackson,
Young Marble Giants,
Eric B and Rakim,
Gerry Rafferty,
Joe Smooth,
Jeru the Damaja,
Todd Terry,
Joensuu 1685,
Man Eating Sloth,
Be Bop Deluxe,
Lonnie Liston Smith,
Pantaleimon,
Red Lorry Yellow Lorry,
The Black Dice,
The Toasters,
Metal Thangz,
The Velvet Underground,
Alphaville,
T. Rex,
Groovy Waters,
Model 500,
Gabor Szabo,
Loose Ends,
Amon Düül,
The Smiths,
DJ Sneak,
Arab on Radar,
Unrelated Segments,
Silicon Teens,
Blossom Toes,
Tommy Roe,
Tim Buckley,
Donny Hathaway,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.