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 Yemen and from Manila.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when David Bowie 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 American Breed to the techno kids.
I played it at the Roxy.
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 Eric Copeland. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Marcia Griffiths 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Section 25,
Ohio Players,
Yusef Lateef,
Roxette,
U.S. Maple,
World's Most,
Marc Almond,
Zero Boys,
Traffic Nightmare,
Stereo Dub,
Bad Manners,
Joey Negro,
cv313,
Glambeats Corp.,
Aural Exciters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scrapy,
Big Daddy Kane,
Blossom Toes,
The Fugs,
Stiv Bators,
DNA,
Black Pus,
Sonny Sharrock,
Jacques Brel,
Nirvana,
Loose Ends,
Tubeway Army,
Oppenheimer Analysis,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Pagans,
Ludus,
Spoonie Gee,
Yaz,
The Slits,
Patti Smith,
The Golliwogs,
Half Japanese,
Wally Richardson,
Man Parrish,
The Neon Judgement,
Suicide,
Chris & Cosey,
Bang On A Can,
Archie Shepp,
Crash Course in Science,
Mr. Review,
Gong,
AZ,
The Selecter,
F. McDonald,
The Pop Group,
Make Up,
The Trojans,
Liaisons Dangereuses,
Niagra,
The Fortunes,
Vaughan Mason & Crew,
Rotary Connection,
Avey Tare & Kría Brekkan,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.