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 Azerbaijan and from Mexico City.
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 1974.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Lyon 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Deakin to the rap kids.
I played it at CBGB's.
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 Barrington Levy. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Gichy Dan 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
The Dave Clark Five,
The Blues Magoos,
Neu!,
Sixth Finger,
Reagan Youth,
Japan,
Bobby Byrd,
Michelle Simonal,
Fifty Foot Hose,
Accadde A,
The Shadows of Knight,
Jacob Miller,
Pagans,
Rotary Connection,
X-101,
The Monochrome Set,
Rod Modell,
Ice-T,
The Music Machine,
Aloha Tigers,
Half Japanese,
Lee Hazlewood,
The Count Five,
Marcia Griffiths,
The Techniques,
Animal Collective,
the Association,
Nirvana,
X-Ray Spex,
The Kinks,
Fear,
Model 500,
Janne Schatter,
MDC,
Roy Ayers,
Peter & Gordon,
Scrapy,
The Toasters,
Ralphi Rosario,
Visionaries,LMNO, T- Love & Iriscience,
Bill Wells,
Donny Hathaway,
Nico,
New Age Steppers,
The American Breed,
The Buckinghams,
Unrelated Segments,
Khruangbin,
It's A Beautiful Day,
Aaron Thompson,
Tres Demented,
Amon Düül,
Faraquet,
Heavy D & The Boyz,
June of 44,
David Bowie,
Sexual Harrassment,
Bobbi Humphrey,
The United States of America,
Susan Cadogan,
Swell Maps,
Ituana,
the Fania All-Stars,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.