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 Slovenia and from Portland.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Beijing 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 808 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 Minny Pops to the techno kids.
I played it at the Spitz.
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 Gap Band. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal grime 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 a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Babytalk,
Aswad,
Hoover,
This Heat,
R.M.O.,
David Axelrod,
Schoolly D,
Glenn Branca,
The Birthday Party,
Fat Boys,
Wire,
Bootsy Collins,
Robert Hood,
Icehouse,
kango's stein massive,
Moebius,
Bobby Byrd,
The Alarm Clocks,
Kerri Chandler,
the Bar-Kays,
Mr. Review,
K-Klass,
Michelle Simonal,
Camouflage,
Index,
The Slits,
London Community Gospel Choir,
Y Pants,
Ten City,
Guru Guru,
Urselle,
Be Bop Deluxe,
Absolute Body Control,
Funky Four + One,
Camron Feat. Memphis Bleek And Beenie Seigel,
Main Source,
The Pop Group,
Lou Reed,
Ludus,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
The Offenders,
Jeru the Damaja,
Lebanon Hanover,
Lou Reed & John Cale,
The Kinks,
Flamin' Groovies,
The Evens,
Ultimate Spinach,
Wings,
Fugazi,
Groovy Waters,
Soul II Soul,
Gang of Four,
Donald Byrd,
Trumans Water,
Glambeats Corp.,
Parry Music,
Robert Görl,
David McCallum,
Nas,
Metal Thangz,
Richard Hell and the Voidoids,
Connie Case, Connie Case, Connie Case, Connie Case.
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.