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 Cyprus and from Seoul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Tokyo 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Vladislav Delay to the jazz kids.
I played it at the 40 Watt.
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 Bootsy Collins. All the underground hits.
All Can tracks. I heard you have a vinyl of every Nick Fraelich 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Los Fastidios,
Essential Logic,
Soft Cell,
Super Lover Cee & Casanova Rud,
Scratch Acid,
Pantytec,
JFA,
The Misunderstood,
Suicide,
It's A Beautiful Day,
John Lydon,
DJ Style,
Amazonics,
Frankie Knuckles,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Moss Icon,
Bobby Hutcherson,
Unwound,
Be Bop Deluxe,
The Gladiators,
Freddie Wadling,
Ash Ra Tempel,
Man Parrish,
Lee Hazlewood,
The Velvet Underground,
Lou Reed,
Intrusion,
Slave,
Eric Copeland,
Anthony Braxton,
Ornette Coleman,
Yazoo,
The Mighty Diamonds,
Bad Manners,
The Zeros,
Barrington Levy,
Schoolly D,
Rhythm & Sound,
Joyce Sims,
Dorothy Ashby,
Echo & the Bunnymen,
Scott Walker,
Jeru the Damaja,
Pierre Henry,
Kerri Chandler,
Joe Smooth,
Dead Boys,
The Slackers,
Ronnie Foster,
Bizarre Inc.,
Jimmy McGriff,
Sarah Menescal,
Symarip,
Bobby Womack,
Darondo,
Josef K,
Judy Mowatt,
Crispy Ambulance,
Andrew Hill,
Terror Squad Feat. Camron,
The Move,
Lakeside, Lakeside, Lakeside, Lakeside.
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.