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 Mauritania and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Men They Couldn't Hang 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 Liaisons Dangereuses. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
New York Dolls,
John Coltrane,
Gerry Rafferty,
The Associates,
Larry & the Blue Notes,
Donald Byrd,
The Selecter,
Rhythm & Sound,
Bob Dylan,
Barrington Levy,
Stiv Bators,
The Pretty Things,
Amazonics,
Marshall Jefferson,
Popol Vuh,
Gong,
Nas,
Major Organ And The Adding Machine,
Kayak,
Reuben Wilson,
Joensuu 1685,
Can,
Sticky Fingaz feat. Raekwon,
David Axelrod,
Kool G Rap & DJ Polo,
Scott Walker + Sunn O))),
Rakim,
Intrusion,
Hasil Adkins,
Swans,
Deadbeat,
Gil Scott-Heron and Jamie xx,
Qualms,
Andrew Hill,
Sun Ra,
The Techniques,
It's A Beautiful Day,
Babytalk,
Vladislav Delay,
Joey Negro,
La Düsseldorf,
Gastr Del Sol,
Scientists,
Bill Near,
The Electric Prunes,
Josef K,
Neil Young,
Stockholm Monsters,
Accadde A,
Kenny Larkin,
Fluxion,
Khruangbin,
Soul Sonic Force,
Trumans Water,
The Misunderstood,
The Blackbyrds,
Masters at Work,
Eve St. Jones,
Outsiders,
Harpers Bizarre,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.