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 Seychelles and from Paris.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Lagos 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 Michael McDonald 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 The Mojo Men to the jazz kids.
I played it at the Troubador.
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 Dorothy Ashby. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Juan Atkins,
Kevin Saunderson,
Kerri Chandler,
Graham Central Station,
Unwound,
The Standells,
Unrelated Segments,
Khruangbin,
Monolake,
Roxette,
Prince Buster,
JFA,
Barrington Levy,
Pet Shop Boys,
Subhumans,
Gabor Szabo,
Aural Exciters,
John Coltrane,
The Victims,
The Names,
DJ Sneak,
Eric B and Rakim,
Gang of Four,
Lizzy Mercier Descloux,
Max Romeo,
The Cosmic Jokers,
Pere Ubu,
The Happenings,
Scion,
D'Angelo,
Mary Jane Girls,
John Lydon,
Boogie Down Productions,
the Normal,
Judy Mowatt,
Soul Sonic Force,
Inner City,
The Fuzztones,
The Fugs,
Henry Cow,
The Count Five,
Franke,
Von Mondo,
Gang Starr,
The Walker Brothers,
Vaughan Mason & Crew,
Kas Product,
Bobby Womack,
Archie Shepp,
Todd Rundgren,
Kurtis Blow,
Black Flag,
The Buckinghams,
Loose Ends,
The Mummies,
Jawbox,
EPMD,
Beasts of Bourbon,
Hot Snakes,
Joe Finger,
The Music Machine,
The Smiths,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.