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 Vietnam and from Cairo.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Woodstock 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Albert Ayler to the funk 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 Ohio Players. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Kas Product,
Shuggie Otis,
Rahsaan Roland Kirk,
Scott Walker + Sunn O))),
The Count Five,
Lee Hazlewood,
Saccharine Trust,
Tropical Tobacco,
The Leaves,
The Black Dice,
Dennis Brown,
Jesper Dahlbäck,
Ajijia Myrayebe,
FM Einheit,
U.S. Maple,
Moss Icon,
Vladislav Delay,
Bobby Womack,
Dark Day,
Mo-Dettes,
Los Fastidios,
OOIOO,
Brick,
Loose Ends,
The Divine Comedy,
Country Joe & The Fish,
John Lydon,
UT,
Echospace,
Fluxion,
Faust,
Dead Boys,
Delon & Dalcan,
Alton Ellis,
Brass Construction,
Chris Corsano,
Orchestral Manoeuvres in the Dark,
Jeru the Damaja,
T.S.O.L.,
Cameo,
a-ha,
The Detroit Cobras,
The Blackbyrds,
Red Lorry Yellow Lorry,
Scrapy,
The Chocolate Watch Band,
Jeff Mills,
Silicon Teens,
The Names,
John Holt,
Judy Mowatt,
Section 25,
Ohio Players,
Pylon,
Desert Stars,
The Selecter,
H. Thieme,
Black Flag,
Banda Bassotti,
The Residents,
Jerry's Kids,
Basic Channel,
Wolf Eyes,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.