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 Austria and from Hong Kong.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Accra 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 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 Camron Feat. Jay Z And Juelz to the crunk kids.
I played it at the Troubador.
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 Jimmy McGriff. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Selector Dub Narcotic,
Howard Jones,
The Mojo Men,
The Invisible,
Angry Samoans,
Black Flag,
Sun Ra,
Lou Christie,
Clear Light,
The Zeros,
The Motions,
PIL,
Susan Cadogan,
Groovy Waters,
a-ha,
Todd Rundgren,
Bootsy's Rubber Band,
Q65,
Spandau Ballet,
Young Marble Giants,
Man Parrish,
Monolake,
Visionaries,LMNO, T- Love & Iriscience,
Echo & the Bunnymen,
The United States of America,
Rahsaan Roland Kirk,
Rod Modell,
The Neon Judgement,
Major Organ And The Adding Machine,
the Swans,
Gil Scott-Heron and Jamie xx,
Schoolly D,
Mars,
Delta 5,
Reuben Wilson,
Warsaw,
A Certain Ratio,
Minny Pops,
London Community Gospel Choir,
Simply Red,
The Standells,
Ludus,
Von Mondo,
Livin' Joy,
Ash Ra Tempel,
Lafayette Afro Rock Band,
The Velvet Underground,
Stiv Bators,
The Walker Brothers,
EPMD,
Malaria!,
Bill Wells,
Steve Hackett,
The Moody Blues,
Cal Tjader,
Nick Fraelich,
Khruangbin,
Supertramp,
Ten City,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.