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 Guatemala and from Manila.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Tehran 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 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 Motorama 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 Jerry Gold Smith. All the underground hits.
All Wire tracks. I heard you have a vinyl of every James White and The Blacks 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Bush Tetras,
Ash Ra Tempel,
Scrapy,
Avey Tare,
Swell Maps,
Lightning Bolt,
Lou Reed & Metallica,
Warren Ellis,
Bang On A Can,
Sonic Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
The Evens,
The Cowsills,
Eric Dolphy,
Rakim,
Donny Hathaway,
Scott Walker,
Pantytec,
The Busters,
The Slackers,
The Cure,
Lucky Dragons,
The Litter,
Thee Headcoats,
Al Stewart,
Kurtis Blow,
Matthew Bourne,
Silicon Teens,
Wasted Youth,
Country Joe & The Fish,
Soul II Soul,
Dave Gahan,
Byron Stingily,
T. Rex,
Flamin' Groovies,
Adolescents,
The Durutti Column,
Be Bop Deluxe,
The Dave Clark Five,
Newcleus,
Animal Collective,
The Pop Group,
New York Dolls,
Liliput,
Jerry Gold Smith,
Louis and Bebe Barron,
Pere Ubu,
Depeche Mode,
A Certain Ratio,
Matthew Halsall,
Duran Duran,
Colin Newman,
Yaz,
Iggy Pop,
The Fuzztones,
London Community Gospel Choir,
Gichy Dan,
Das Ding,
Easy Going, Easy Going, Easy Going, Easy Going.
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.