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 Oman and from Woodstock.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Fifty Foot Hose to the rap 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 Deakin. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Outsiders,
Fatback Band,
Soul Sonic Force,
Super Lover Cee & Casanova Rud,
The Searchers,
Crash Course in Science,
Whodini,
Oneida,
Marmalade,
Hot Snakes,
Reuben Wilson,
Anthony Braxton,
Ornette Coleman,
Tears for Fears,
Kool Moe Dee,
D'Angelo,
Josef K,
Rites of Spring,
Nico,
Symarip,
The Motions,
The Durutti Column,
F. McDonald,
The Names,
Kevin Saunderson,
Terror Squad Feat. Camron,
Bobby Byrd,
Scan 7,
Bluetip,
The Music Machine,
Wire,
The Tremeloes,
Masters at Work,
The Selecter,
Blancmange,
Negative Approach,
Lou Christie,
Kurtis Blow,
Liliput,
Skaos,
Jeru the Damaja,
Jacques Brel,
Drive Like Jehu,
Prince Buster,
Erasure,
Peter and Kerry,
Max Romeo,
Sad Lovers and Giants,
The Cosmic Jokers,
Kenny Larkin,
The Mummies,
Chris & Cosey,
Röyhkä ja Rättö ja Lehtisalo,
The Star Department,
Boredoms,
Echo & the Bunnymen,
Pantaleimon,
Bush Tetras,
Dave Gahan,
The Doobie Brothers,
Animal Collective,
Television, Television, Television, Television.
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.