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 Zambia and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 spring reverb 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 Main Source to the dance 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 Underground Resistance. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Mars,
Agitation Free,
Soft Cell,
Reuben Wilson,
Inner City,
Public Image Ltd.,
Kango’s Stein Massive,
John Coltrane,
Piero Umiliani,
The Human League,
Dave Gahan,
Minny Pops,
Shoche,
Minnie Riperton,
Bill Near,
Half Japanese,
Grey Daturas,
Eden Ahbez,
Accadde A,
Camron Feat. Memphis Bleek And Beenie Seigel,
Duran Duran,
The Slits,
Sex Pistols,
Crash Course in Science,
Red Lorry Yellow Lorry,
Scientists,
Cybotron,
Albert Ayler,
Lizzy Mercier Descloux,
Beasts of Bourbon,
Saccharine Trust,
Joyce Sims,
Interpol,
Lou Reed & John Cale,
Donny Hathaway,
Frankie Knuckles,
The Black Dice,
The Dave Clark Five,
The Residents,
Johnny Osbourne,
Rahsaan Roland Kirk,
Easy Going,
Susan Cadogan,
Boogie Down Productions,
Khruangbin,
Faraquet,
Hasil Adkins,
KRS-One,
DNA,
Dual Sessions,
Technova,
Lucky Dragons,
Soul Sonic Force,
A Certain Ratio,
Stetsasonic,
In Retrospect,
Robert Wyatt,
Bad Manners,
Pole,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.