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 Lithuania and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Siglo XX to the grunge 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 Public Enemy. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Black Dice 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 '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
48th St. Collective,
Crime,
Röyhkä ja Rättö ja Lehtisalo,
Can,
Johnny Osbourne,
The Black Dice,
Barry Ungar,
Angry Samoans,
Funky Four + One,
Darondo,
Khruangbin,
The Gladiators,
Sister Nancy,
Qualms,
Half Japanese,
Kool G Rap & DJ Polo,
Inner City,
The Beau Brummels,
Peter & Gordon,
Los Fastidios,
Ajijia Myrayebe,
The Slackers,
The Blackbyrds,
Danielle Patucci,
The Mighty Diamonds,
Heaven 17,
Beasts of Bourbon,
Rhythm & Sound,
Ultra Naté,
Sällskapet,
Tomorrow,
Ronnie Foster,
Avey Tare,
Malaria!,
The Real Kids,
Jesper Dahlbäck,
Barbara Tucker,
Lucky Dragons,
Ken Boothe,
Freddie Wadling,
Ponytail,
The Peanut Butter Conspiracy,
The Doors,
Kayak,
Gang Gang Dance,
Suburban Knight,
Amazonics,
June of 44,
Shoche,
Howard Jones,
The Toasters,
Animal Collective,
Black Flag,
Leonard Cohen,
Lindisfarne,
Gian Franco Pienzio,
Dennis Brown,
The Vogues,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.