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 Malta and from Mexico City.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 Lou Reed 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 Pete Rock & C.L. Smooth to the techno kids.
I played it at Cafe Wha.
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 June of 44. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Mark Hollis 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Lou Reed & John Cale,
Johnny Osbourne,
The Beau Brummels,
Dorothy Ashby,
Marine Girls,
Lindisfarne,
Sly & The Family Stone,
Amazonics,
Godley & Creme,
Country Joe & The Fish,
La Düsseldorf,
Cabaret Voltaire,
Intrusion,
Liliput,
Siglo XX,
Terror Squad Feat. Camron,
Rufus Thomas,
Brick,
Matthew Bourne,
L. Decosne,
Basic Channel,
Black Moon,
Hot Snakes,
Radio Birdman,
Jandek,
Tubeway Army,
Nick Fraelich,
Yusef Lateef,
Surgeon,
Erasure,
Lou Christie,
Gil Scott Heron,
The Neon Judgement,
Pantaleimon,
Panda Bear,
Gastr Del Sol,
AZ,
Gang Gang Dance,
Junior Murvin,
Heaven 17,
Althea and Donna,
Ultimate Spinach,
Jawbox,
Grandmaster Flash and the Furious Five,
Hashim,
Sad Lovers and Giants,
Jesper Dahlbäck,
The Gap Band,
The Victims,
The Monks,
Soul Sonic Force,
Black Sheep,
The Doors,
John Foxx,
Delta 5,
DJ Sneak,
8 Eyed Spy,
Angels of Light & Akron/Family,
Lakeside,
Duran Duran,
Tres Demented,
A Certain Ratio,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.