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 Egypt and from Johannesburg.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Major Organ And The Adding Machine to the dance kids.
I played it at the Hacienda.
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 Mr. Review. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Pharoah Sanders,
June of 44,
Rowland S Howard / Lydia Lunch,
Cluster,
Sarah Menescal,
Mission of Burma,
The Cowsills,
Scrapy,
The West Coast Pop Art Experimental Band,
Tomorrow,
The Star Department,
Livin' Joy,
Danielle Patucci,
Accadde A,
The Standells,
The Cosmic Jokers,
Country Joe & The Fish,
Vaughan Mason & Crew,
FM Einheit,
The Mojo Men,
Crime,
E-Dancer,
Archie Shepp,
London Community Gospel Choir,
Gian Franco Pienzio,
Skarface,
Quando Quango,
The Gladiators,
John Holt,
Camron Feat. Memphis Bleek And Beenie Seigel,
Heaven 17,
Eden Ahbez,
Ornette Coleman,
Sandy B,
Arcadia,
Marshall Jefferson,
Bobby Womack,
Shoche,
The Zeros,
Althea and Donna,
Kauko Röyhkä ja Narttu,
Carl Craig,
Minutemen,
Nik Kershaw,
La Düsseldorf,
The J.B.'s,
Cheater Slicks,
Rakim,
ABBA,
Avey Tare & Kría Brekkan,
Wolf Eyes,
The Royal Family And The Poor,
Scientists,
Susan Cadogan,
Boredoms,
Smog,
Curtis Mayfield,
Larry & the Blue Notes,
Anakelly,
Skriet,
Maurizio, Maurizio, Maurizio, Maurizio.
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.