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 Laos and from Manchester.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school New York 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Stockholm Monsters to the crunk kids.
I played it at the Roxy.
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 The Busters. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal punk 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Rites of Spring,
Quantec,
Dual Sessions,
Fifty Foot Hose,
Gil Scott Heron,
Jacob Miller,
Fatback Band,
Frankie Knuckles,
Todd Rundgren,
Marc Romboy vs. Booka Shade,
A Certain Ratio,
Monolake,
Mars,
Procol Harum,
the Association,
Robert Hood,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Connie Case,
Sugar Minott,
Rod Modell,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Main Source,
Cecil Taylor,
the Germs,
Metal Thangz,
The J.B.'s,
Faust,
Pete Rock & C.L. Smooth,
The Detroit Cobras,
the Bar-Kays,
UT,
Babytalk,
Animal Collective,
Hot Snakes,
Essential Logic,
Maleditus Sound,
Bobby Womack,
Echo & the Bunnymen,
Lebanon Hanover,
The Dirtbombs,
Flash Fearless,
X-102,
E-Dancer,
Young Marble Giants,
Hasil Adkins,
Gichy Dan,
Mo-Dettes,
The Human League,
Bad Manners,
Hashim,
Wasted Youth,
Gil Scott-Heron & Brian Jackson,
Curtis Mayfield,
Bauhaus,
AZ,
Kerrie Biddell,
The Offenders,
The Monks,
The Shadows of Knight,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.