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 Congo and from Lyon.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Calgary.
I'm losing my edge to the art-school Calgary 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 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 The Blackbyrds to the dance 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 Joe Smooth. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Mandrill 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The Fuzztones,
K-Klass,
Wire,
Surgeon,
John Coltrane,
Gong,
Faraquet,
The Dead C,
The Offenders,
Au Pairs,
Curtis Mayfield,
Circle Jerks,
Aural Exciters,
Easy Going,
Justin Hinds & The Dominoes,
Reuben Wilson,
Simply Red,
Bang on a Can All-Stars,
Skarface,
Isaac Hayes,
Oneida,
the Sonics,
The Residents,
Jesper Dahlbäck,
Quando Quango,
Television Personalities,
Sun City Girls,
Scott Walker,
New Order,
The Detroit Cobras,
Radiohead,
Brass Construction,
U.S. Maple,
Davy DMX,
This Heat,
Parry Music,
Gastr Del Sol,
Andrew Ashong & Theo Parrish,
Moby Grape,
Suicide,
Yusef Lateef,
Smog,
Stereo Dub,
Sugar Minott,
Teenage Jesus and the Jerks,
The Dirtbombs,
Soft Machine,
Terror Squad Feat. Camron,
Marcia Griffiths,
Outsiders,
Roger Hodgson,
Excepter,
Juan Atkins,
Deepchord,
The Motions,
Procol Harum,
The Moody Blues,
Underground Resistance,
Grandmaster Flash,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.