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 Comoros and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Bremen 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 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 Deutsch Amerikanische Freundschaft to the techno 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 Quantec. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Pharaoh Sanders and the Fire Engines,
Supertramp,
Dead Boys,
The Toasters,
The Cramps,
Buzzcocks,
Quantec,
Saccharine Trust,
The Dead C,
Sonic Youth,
The Birthday Party,
The Kinks,
Country Teasers,
The Evens,
Avey Tare's Slasher Flicks,
The Five Americans,
Radiohead,
Black Bananas,
Funkadelic,
Barry Ungar,
Iggy Pop,
Fluxion,
Depeche Mode,
Icehouse,
Scrapy,
In Retrospect,
Siglo XX,
The Monochrome Set,
Masters at Work,
Wire,
Public Image Ltd.,
Neil Young & Crazy Horse,
The Fugs,
Kas Product,
Tears for Fears,
Maurizio,
Nils Olav,
Sun Ra,
Das Ding,
Dark Day,
Cybotron,
Qualms,
Richard Hell and the Voidoids,
Idris Muhammad,
Albert Ayler,
Rahsaan Roland Kirk,
Rotary Connection,
Alison Limerick,
Ultra Naté,
Los Fastidios,
Procol Harum,
The Gories,
Suicide,
The Misunderstood,
The Doobie Brothers,
Spandau Ballet,
Flash Fearless,
La Düsseldorf,
The Techniques,
Hashim,
Roy Ayers Ubiquity,
Inner City, Inner City, Inner City, Inner City.
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.