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 Lesotho and from Manchester.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Sly & The Family Stone to the jazz 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 Country Joe & The Fish. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Harmonia,
Kings Of Tomorrow,
Young Marble Giants,
Eyeless In Gaza,
The Fire Engines,
The Fortunes,
Brand Nubian,
Bootsy's Rubber Band,
Cluster,
Roxy Music,
Nas,
Black Sheep,
Public Image Ltd.,
Steve Hackett,
Ken Boothe,
the Germs,
Suicide,
Tom Boy,
ABC,
The Modern Lovers,
Soulsonic Force,
Goldenarms,
Jeru the Damaja,
Ponytail,
Be Bop Deluxe,
Alton Ellis,
Jacob Miller,
Hoover,
Delon & Dalcan,
Robert Görl,
Joy Division,
Rhythm & Sound,
Desert Stars,
Pharaoh Sanders and the Fire Engines,
Avey Tare,
The Remains,
Cal Tjader,
The Wake,
Joey Negro,
Avey Tare's Slasher Flicks,
Cybotron,
The Saints,
Von Mondo,
Shoche,
Moss Icon,
Pagans,
Anakelly,
The Fall,
Sun City Girls,
Jandek,
Big Daddy Kane,
Lungfish,
Ash Ra Tempel,
Laurel Aitken,
Bang on a Can All-Stars,
Sound Behaviour,
Cymande,
Brothers Johnson,
Sticky Fingaz feat. Raekwon,
Unrelated Segments,
One Last Wish,
Gil Scott-Heron and Jamie xx,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.