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 Congo and from Beijing.
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 Columbus and Calgary.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Babytalk to the disco kids.
I played it at the Spitz.
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 Detroit Cobras. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
The Move,
K-Klass,
Marmalade,
Avey Tare & Kría Brekkan,
Lizzy Mercier Descloux,
Marvin Gaye,
Lou Reed & Metallica,
Anthony Braxton,
Pagans,
Sad Lovers and Giants,
The Seeds,
Deepchord,
Roy Ayers,
The United States of America,
Dark Day,
Zapp,
Barry Ungar,
Vaughan Mason & Crew,
Popol Vuh,
Faust,
The Standells,
Jeff Mills,
The Residents,
Jeff Lynne,
Negative Approach,
The Fire Engines,
The Electric Prunes,
MDC,
Young Marble Giants,
The Mummies,
Swell Maps,
Newcleus,
Reagan Youth,
The Offenders,
Aural Exciters,
The Leaves,
OOIOO,
Prince Buster,
The Misunderstood,
Roxy Music,
Mo-Dettes,
The Happenings,
DJ Sneak,
Gang Green,
June of 44,
Juan Atkins,
Au Pairs,
Ultravox,
The Velvet Underground,
Quantec,
Jimmy McGriff,
The Red Krayola,
Cluster,
Stereo Dub,
The Last Poets,
Gang Gang Dance,
Major Organ And The Adding Machine,
Rekid,
The Jesus and Mary Chain,
Easy Going,
Neil Young,
the Association,
Boogie Down Productions,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.