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 Slovakia and from Lagos.
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 1971.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Sly & The Family Stone to the rock 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 Iggy Pop. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Bauhaus,
Sixth Finger,
Fear,
Rakim,
Clear Light,
Eric Dolphy,
Oblivians,
Stiv Bators,
Black Moon,
China Crisis,
Deutsch Amerikanische Freundschaft,
DJ Sneak,
Symarip,
Electric Light Orchestra,
Tomorrow,
Laurel Aitken,
Jawbox,
John Holt,
Niagra,
Buzzcocks,
Kango’s Stein Massive,
Accadde A,
Goldenarms,
Moss Icon,
Black Flag,
Hot Snakes,
The Blues Magoos,
Thompson Twins,
Parry Music,
the Association,
The Walker Brothers,
Gil Scott-Heron and Jamie xx,
The Mummies,
Camberwell Now,
U.S. Maple,
Donny Hathaway,
The Doors,
John Coltrane,
The New Christs,
Ten City,
Kings Of Tomorrow,
Sad Lovers and Giants,
Television Personalities,
Spandau Ballet,
D'Angelo,
Erykah Badu,
Negative Approach,
Sällskapet,
Blake Baxter,
Index,
a-ha,
Whodini,
Fat Boys,
Siglo XX,
Brass Construction,
Echo & the Bunnymen,
Bluetip,
The Slackers,
Sarah Menescal,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.