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 Montenegro and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Woodstock 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 The Seeds to the techno kids.
I played it at the Crocodile.
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 Tim Buckley. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One 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?
Franke,
Radio Birdman,
Fear,
Dawn Penn,
The American Breed,
Isaac Hayes,
Flipper,
Absolute Body Control,
Albert Ayler,
The Dead C,
X-101,
The United States of America,
Aaron Thompson,
Gang Green,
Avey Tare & Kría Brekkan,
The Detroit Cobras,
Red Lorry Yellow Lorry,
Carl Craig,
Glambeats Corp.,
Easy Going,
Moby Grape,
Liliput,
The Fire Engines,
Thompson Twins,
Deutsch Amerikanische Freundschaft,
Cluster,
the Association,
Oblivians,
Yusef Lateef,
Rapeman,
The Last Poets,
Oneida,
The Sound,
Essential Logic,
Trumans Water,
The Flesh Eaters,
Scratch Acid,
Maurizio,
New Age Steppers,
Camron Feat. Jay Z And Juelz,
Grauzone,
The Vogues,
Sexual Harrassment,
Radiopuhelimet,
Eric B and Rakim,
Kerrie Biddell,
Popol Vuh,
Stiv Bators,
Rufus Thomas,
The Cosmic Jokers,
Stockholm Monsters,
Moebius,
Deadbeat,
Kings Of Tomorrow,
The Blackbyrds,
Gang Starr,
Nas,
The Slackers,
Angels of Light & Akron/Family,
FM Einheit,
Beasts of Bourbon,
the Soft Cell,
The Kinks, The Kinks, The Kinks, The Kinks.
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.