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 Argentina and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Shanghai 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 organ sounds with much patience.
I was there when Holger Czukay 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 Idris Muhammad to the jazz 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 Rufus Thomas. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
The Move,
Aswad,
Be Bop Deluxe,
Pole,
the Germs,
Thinking Fellers Union Local 282,
Funkadelic,
Kaleidoscope,
Second Layer,
Supertramp,
X-101,
Young Marble Giants,
Kings Of Tomorrow,
Eurythmics,
Morten Harket,
Danielle Patucci,
The Alarm Clocks,
Bobby Byrd,
Faraquet,
Alphaville,
Sight & Sound,
Jesper Dahlbäck,
Franke,
Swell Maps,
The Star Department,
Anthony Braxton,
The Toasters,
Traffic Nightmare,
Robert Hood,
Joe Finger,
Popol Vuh,
Cabaret Voltaire,
Icehouse,
Visage,
Lizzy Mercier Descloux,
Robert Görl,
PIL,
Warsaw,
James White and The Blacks,
Soft Machine,
F. McDonald,
Nik Kershaw,
Rhythim Is Rhythim,
Boredoms,
the Fania All-Stars,
Aaron Thompson,
The Happenings,
Radiopuhelimet,
Derrick May,
Unrelated Segments,
10cc,
Zapp,
Quadrant,
The Index,
Faust,
Sällskapet,
Alison Limerick,
Sly & The Family Stone,
Dr. Dre and Snoop Doggy Dog,
Bang on a Can All-Stars,
Donny Hathaway,
Index, Index, Index, Index.
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.