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 Azerbaijan and from Houston.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Columbus.
I'm losing my edge to the art-school Halifax 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 theremin 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 Deutsch Amerikanische Freundschaft to the techno 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 Minnie Riperton. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every the Association 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Aswad,
Rakim,
Sun Ra Arkestra,
Au Pairs,
Stereo Dub,
Can,
Scientists,
Judy Mowatt,
World's Most,
Sun Ra,
Mantronix,
Agent Orange,
The Monochrome Set,
Liaisons Dangereuses,
Frankie Knuckles,
Bang On A Can,
The Litter,
Moby Grape,
Interpol,
The Trojans,
Mary Jane Girls,
The Mummies,
Magma,
Massinfluence,
Roy Ayers Ubiquity,
Lightning Bolt,
The Angels of Light,
Stockholm Monsters,
X-101,
Circle Jerks,
Althea and Donna,
R.M.O.,
kango's stein massive,
Johnny Osbourne,
The Remains,
Terry Callier,
Kool G Rap & DJ Polo,
The Alarm Clocks,
Scratch Acid,
CMW,
Procol Harum,
The Cure,
Terrestrial Tones,
Henry Cow,
Derrick Morgan,
Tom Boy,
Shuggie Otis,
The Neon Judgement,
Bush Tetras,
Anakelly,
Bill Near,
Wolf Eyes,
Magazine,
The Pop Group,
Whodini,
Mission of Burma,
Black Pus,
Lee Hazlewood,
Marmalade,
Morten Harket,
Lebanon Hanover,
It's A Beautiful Day,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.