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 Solomon Islands and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Portland 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 chamberlin 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 The Mojo Men to the electroclash kids.
I played it at CBGB's.
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 Guru Guru. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
The Neon Judgement,
Albert Ayler,
the Bar-Kays,
Arcadia,
Rites of Spring,
Cluster,
Fat Boys,
Throbbing Gristle,
One Last Wish,
EPMD,
Danielle Patucci,
The Gap Band,
Joey Negro,
Rahsaan Roland Kirk,
Groovy Waters,
Yaz,
Blake Baxter,
X-101,
Brass Construction,
Nico,
Derrick Morgan,
Sex Pistols,
Brand Nubian,
Siglo XX,
Kevin Saunderson,
Urselle,
Ice-T,
Laurel Aitken,
La Düsseldorf,
Gil Scott Heron,
The Motions,
June Days,
Neu!,
The Remains,
Avey Tare,
Sun Ra Arkestra,
Panda Bear,
AZ,
Minutemen,
Roy Ayers Ubiquity,
Davy DMX,
Quando Quango,
Selector Dub Narcotic,
Malaria!,
Connie Case,
Brothers Johnson,
F. McDonald,
Patti Smith,
Porter Ricks,
Jacques Brel,
Stetsasonic,
The Barracudas,
Rapeman,
Terrestrial Tones,
New York Dolls,
Eli Mardock,
The Misunderstood,
Pharaoh Sanders and the Fire Engines,
Johnny Clarke,
Pylon,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.