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 South Africa and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and London.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Thee Headcoats to the crunk 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 Strawberry Alarm Clock. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Gian Franco Pienzio,
Harpers Bizarre,
Ultramagnetic MC's,
Freddie Wadling,
Bobbi Humphrey,
Underground Resistance,
The Doobie Brothers,
kango's stein massive,
Model 500,
Amon Düül,
Magazine,
cv313,
Tubeway Army,
The Human League,
Electric Prunes,
The Zeros,
Danielle Patucci,
John Coltrane,
Pylon,
Crime,
Terry Callier,
Boredoms,
Quantec,
Monolake,
The Invisible,
David McCallum,
Eddi Front,
The Associates,
The Fire Engines,
Stereo Dub,
Urselle,
Yaz,
Brand Nubian,
The Moody Blues,
Accadde A,
X-102,
The Slackers,
Darondo,
Half Japanese,
Blake Baxter,
Kerri Chandler,
Hoover,
Big Daddy Kane,
The Detroit Cobras,
Lower 48,
Morten Harket,
Marmalade,
David Axelrod,
R.M.O.,
Funky Four + One,
Swans,
KRS-One,
Cal Tjader,
Jacob Miller,
Mad Mike,
The Blackbyrds,
The Toasters,
Pet Shop Boys,
Gang Gang Dance,
Jawbox,
T. Rex,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.