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 Senegal and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Rekid to the punk kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
The Slits,
Animal Collective,
The Grass Roots,
Man Eating Sloth,
The Pop Group,
La Düsseldorf,
Joyce Sims,
The Kinks,
Wasted Youth,
Oppenheimer Analysis,
EPMD,
Crash Course in Science,
David Bowie,
Radiohead,
Sex Pistols,
Slave,
Toni Rubio,
Barry Ungar,
Tres Demented,
Sandy B,
The Associates,
Gerry Rafferty,
Black Moon,
Alphaville,
Yazoo,
Derrick May,
Mary Jane Girls,
China Crisis,
Marc Romboy vs. Booka Shade,
Black Sheep,
Lou Christie,
Jacques Brel,
Warren Ellis,
London Community Gospel Choir,
the Slits,
Bobby Womack,
Ludus,
The Velvet Underground,
Minor Threat,
Jerry Gold Smith,
Lebanon Hanover,
Brick,
Half Japanese,
Babytalk,
The Smoke,
Average White Band,
Gang Starr,
Gary Puckett & The Union Gap,
Nico,
Robert Hood,
Livin' Joy,
The Blackbyrds,
Man Parrish,
Piero Umiliani,
Slick Rick,
Lakeside,
Camouflage,
Bootsy Collins,
Audionom,
Yusef Lateef,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.