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 Albania and from Jakarta.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Salvador 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Tomorrow to the dance 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 The Monks. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Crispy Ambulance record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Average White Band,
Be Bop Deluxe,
Pharaoh Sanders and the Fire Engines,
Boredoms,
Los Fastidios,
Barclay James Harvest,
CMW,
Oblivians,
David Axelrod,
Eric Dolphy,
The Smoke,
Black Pus,
Darondo,
Liaisons Dangereuses,
The Mummies,
Kool Moe Dee,
Pussy Galore,
Heavy D & The Boyz,
Clear Light,
Cluster,
Derrick Morgan,
The Music Machine,
Mandrill,
Porter Ricks,
the Association,
Eric Copeland,
Brothers Johnson,
Public Enemy,
Hasil Adkins,
Lyres,
Mary Jane Girls,
Marc Almond,
Animal Collective,
Throbbing Gristle,
Gang of Four,
The American Breed,
Zapp,
Davy DMX,
Grey Daturas,
Pylon,
Lizzy Mercier Descloux,
Dorothy Ashby,
Camberwell Now,
Tubeway Army,
Sonic Youth,
La Düsseldorf,
Sun Ra,
Popol Vuh,
Kool G Rap & DJ Polo,
Super Lover Cee & Casanova Rud,
Cecil Taylor,
Manfred Mann's Earth Band,
Bobby Womack,
Oppenheimer Analysis,
Notorious BIG live in Amsterdam,
Interpol,
Agitation Free,
Lungfish,
DJ Style,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.