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 Turkey and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator 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 Fela Kuti to the funk kids.
I played it at Cafe Wha.
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 Selecter. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Monks,
James White and The Blacks,
Arthur Verocai,
Fatback Band,
The Motions,
Negative Approach,
The Gun Club,
Pantaleimon,
Albert Ayler,
The Offenders,
Anakelly,
Icehouse,
The Doors,
The Vogues,
Avey Tare's Slasher Flicks,
Steve Hackett,
Gabor Szabo,
Sunsets and Hearts,
Bang On A Can,
Rakim,
The Tremeloes,
Avey Tare,
Aloha Tigers,
Robert Wyatt,
Harpers Bizarre,
Von Mondo,
Leonard Cohen,
Jeff Mills,
Mission of Burma,
Traffic Nightmare,
Man Parrish,
Soul II Soul,
Alton Ellis,
Kerrie Biddell,
Yellowson,
Cecil Taylor,
The Trojans,
Qualms,
Faust,
Erykah Badu,
Grauzone,
Todd Rundgren,
Tubeway Army,
OOIOO,
Todd Terry,
The Slits,
Boredoms,
Lindisfarne,
Marc Almond,
Pierre Henry,
Kool Moe Dee,
Pharoah Sanders,
Radio Birdman,
Agitation Free,
The Moleskins,
Pete Rock & C.L. Smooth,
Fear,
Rosa Yemen,
Minnie Riperton,
Nas,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.