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 Ireland and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Manila 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 Donald Fagen 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 Ohio Players to the grime kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
The West Coast Pop Art Experimental Band,
Wire,
LL Cool J,
Fat Boys,
Soft Machine,
Scratch Acid,
Section 25,
Neu!,
Matthew Halsall,
Das Ding,
The Dirtbombs,
Country Joe & The Fish,
John Cale,
Robert Wyatt,
Black Bananas,
Parry Music,
Albert Ayler,
The Martian,
Severed Heads,
Kool G Rap & DJ Polo,
Soulsonic Force,
Johnny Clarke,
Scion,
Marmalade,
Al Stewart,
Todd Rundgren,
David McCallum,
June Days,
Black Moon,
Soft Cell,
Suicide,
Robert Hood,
Major Organ And The Adding Machine,
Ohio Players,
Nik Kershaw,
Supertramp,
Sunsets and Hearts,
Alice Coltrane,
Prince Buster,
The Monks,
Crime,
Arab on Radar,
Bill Wells,
Pantaleimon,
Agent Orange,
Marcia Griffiths,
Cybotron,
Joensuu 1685,
Joe Finger,
Pere Ubu,
Guru Guru,
The Gladiators,
Brass Construction,
Ralphi Rosario,
Basic Channel,
Derrick Morgan,
The Cowsills,
The Victims,
Bauhaus,
The Mummies, The Mummies, The Mummies, The Mummies.
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.