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 San Marino and from Delhi.
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 1963 to 1972.
I'm losing my edge.
To all the kids in London and Sao Paulo.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Mo-Dettes to the rap kids.
I played it at Trash.
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 Idris Muhammad. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Thee Headcoats,
Absolute Body Control,
Fela Kuti,
Michelle Simonal,
Judy Mowatt,
The Star Department,
H. Thieme,
Reagan Youth,
Graham Central Station,
Andrew Hill,
Kevin Saunderson,
Kaleidoscope,
Ajijia Myrayebe,
Zero Boys,
Ash Ra Tempel,
Brothers Johnson,
Hoover,
Iggy Pop,
Byron Stingily,
Alison Limerick,
Cybotron,
Junior Murvin,
The Standells,
AZ,
F. McDonald,
Oppenheimer Analysis,
Captain Beefheart & His Magic Band,
The Blackbyrds,
Jeff Mills,
X-101,
Spandau Ballet,
Joensuu 1685,
Nils Olav,
The Gladiators,
Aaron Thompson,
Carl Craig,
Jacques Brel,
Nas,
the Bar-Kays,
Soul II Soul,
The Leaves,
The Techniques,
FM Einheit,
Lungfish,
Audionom,
James Chance & The Contortions,
Sly & The Family Stone,
Jeru the Damaja,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
The Invisible,
Amon Düül,
LL Cool J,
Fugazi,
Youth Brigade,
Technova,
Infiniti,
Connie Case,
Eric B and Rakim,
Soulsonic Force,
The Saints, The Saints, The Saints, The Saints.
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.