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 Montenegro and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Chris Corsano to the electroclash 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 Tomorrow. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every The Fall 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 '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
The Offenders,
Pylon,
Joy Division,
Icehouse,
Lou Reed & Metallica,
Massinfluence,
Ronan,
Andrew Hill,
Liaisons Dangereuses,
Essential Logic,
Rekid,
Graham Central Station,
Gary Puckett & The Union Gap,
Hoover,
Terry Callier,
The Mojo Men,
Fad Gadget,
Kauko Röyhkä ja Narttu,
Ice-T,
Derrick Morgan,
X-101,
Babytalk,
Metal Thangz,
Sixth Finger,
June of 44,
Dennis Brown,
Dead Boys,
Oneida,
Tim Buckley,
Monks,
Minnie Riperton,
Amazonics,
Cabaret Voltaire,
Barbara Tucker,
Subhumans,
JFA,
Severed Heads,
The Names,
Carl Craig,
Ajijia Myrayebe,
Altered Images,
Jeru the Damaja,
Arcadia,
48th St. Collective,
Robert Hood,
Chris & Cosey,
Vainqueur,
The Seeds,
Lightning Bolt,
Bob Dylan,
Cluster,
Aswad,
Art Ensemble Of Chicago,
MC5,
Roy Ayers,
Yellowson,
Tomorrow,
Moebius,
Pierre Henry,
Ossler,
Skaos,
Excepter, Excepter, Excepter, Excepter.
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.