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 Somalia and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Mumbai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Pharaoh Sanders and the Fire Engines to the techno 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 Sugar Minott. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rap 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Andrew Ashong & Theo Parrish,
Heavy D & The Boyz,
Section 25,
Alphaville,
Mission of Burma,
The Monks,
La Düsseldorf,
Country Joe & The Fish,
Groovy Waters,
Toni Rubio,
Eddi Front,
Q and Not U,
Vaughan Mason & Crew,
The Invisible,
Derrick May,
The Sisters of Mercy,
Grandmaster Flash,
Robert Wyatt,
Lee Hazlewood,
Oblivians,
Pantytec,
Gil Scott Heron,
Ronnie Foster,
Tom Boy,
Jeff Lynne,
Avey Tare & Kría Brekkan,
Sight & Sound,
Lalann,
The Birthday Party,
Rekid,
Agent Orange,
Mark Hollis,
A Certain Ratio,
Angry Samoans,
DJ Sneak,
Isaac Hayes,
Moebius,
The Monochrome Set,
Bobbi Humphrey,
Mantronix,
Fela Kuti,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Prince Buster,
Anthony Braxton,
Bobby Hutcherson,
Kool G Rap & DJ Polo,
Kas Product,
Don Cherry,
Intrusion,
Iggy Pop,
Lebanon Hanover,
Wire,
Kaleidoscope,
Graham Central Station,
Teenage Jesus and the Jerks,
The Fuzztones,
Joe Smooth,
Be Bop Deluxe,
Banda Bassotti,
Lyres, Lyres, Lyres, Lyres.
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.