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 Tajikistan and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 London and Lagos.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Country Joe & The Fish 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 Fort Wilson Riot. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Ponytail,
Wire,
Nick Fraelich,
The Alarm Clocks,
The Beau Brummels,
Röyhkä ja Rättö ja Lehtisalo,
Godley & Creme,
Faust,
Excepter,
Marvin Gaye,
The New Christs,
Flipper,
Sister Nancy,
The Offenders,
Warsaw,
D'Angelo,
Eric Copeland,
Public Image Ltd.,
Carl Craig,
Jesper Dahlback,
Aaron Thompson,
Louis and Bebe Barron,
The Saints,
Juan Atkins,
Tubeway Army,
Angry Samoans,
Slick Rick,
Kas Product,
Rhythm & Sound,
Liaisons Dangereuses,
Country Joe & The Fish,
Whodini,
Qualms,
The Real Kids,
The Index,
Alphaville,
Bauhaus,
AZ,
Duran Duran,
Parry Music,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Jesus and Mary Chain,
Skarface,
E-Dancer,
The Monks,
Selector Dub Narcotic,
June of 44,
Derrick May,
Swell Maps,
Outsiders,
Tropical Tobacco,
Bobby Byrd,
The Doors,
Groovy Waters,
London Community Gospel Choir,
Hashim,
Peter Gordon & Love of Life Orchestra,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.