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 Thailand and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Lalann to the crunk kids.
I played it at Cafe Wha.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Slick Rick,
Liliput,
Popol Vuh,
Easy Going,
Basic Channel,
Section 25,
Silicon Teens,
The Moody Blues,
The Peanut Butter Conspiracy,
Crooked Eye,
Pharoah Sanders,
The Invisible,
X-102,
Bizarre Inc.,
James White and The Blacks,
Lower 48,
Model 500,
Moebius,
Procol Harum,
Masters at Work,
Quadrant,
Gastr Del Sol,
Little Man,
JFA,
Pulsallama,
Sad Lovers and Giants,
Roy Ayers Ubiquity,
Malaria!,
The New Christs,
Fugazi,
Eric Copeland,
Dawn Penn,
Desert Stars,
The Music Machine,
Andrew Hill,
Neil Young & Crazy Horse,
Cabaret Voltaire,
Chrome,
The Selecter,
Skriet,
Ludus,
Interpol,
Ralphi Rosario,
The Smoke,
Kevin Saunderson,
Camron Feat. Jay Z And Juelz,
Grandmaster Flash,
Spandau Ballet,
Ajijia Myrayebe,
Barbara Tucker,
Swans,
The J.B.'s,
Marc Almond,
Pere Ubu,
New Age Steppers,
The Motions,
Nation of Ulysses,
Mission of Burma,
It's A Beautiful Day,
Con Funk Shun,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.