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 Algeria and from Johannesburg.
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 1966 to 1977.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Manila 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 linndrum 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 Mandrill to the disco 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 World's Most. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Andrew Hill,
Symarip,
Liaisons Dangereuses,
The Saints,
Cal Tjader,
Robert Hood,
Terrestrial Tones,
Harpers Bizarre,
Juan Atkins,
Basic Channel,
Godley & Creme,
Bobby Hutcherson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Groovy Waters,
Grandmaster Flash and the Furious Five,
New Age Steppers,
Ten City,
The Selecter,
Moss Icon,
Soul II Soul,
Stiv Bators,
Freddie Wadling,
Rosa Yemen,
Buzzcocks,
Magma,
Peter and Kerry,
DJ Sneak,
Pharaoh Sanders and the Fire Engines,
The Names,
Dave Gahan,
Arcadia,
Patti Smith,
The Mojo Men,
Massinfluence,
Bob Dylan,
John Cale,
Fear,
Selector Dub Narcotic,
Albert Ayler,
the Fania All-Stars,
Stereo Dub,
Pierre Henry,
Jeru the Damaja,
Frankie Knuckles,
Prince Buster,
June of 44,
Richard Hell and the Voidoids,
The Gap Band,
Hardrive,
OOIOO,
Fatback Band,
Pussy Galore,
Negative Approach,
Motorama,
Ultra Naté,
The Human League,
Gabor Szabo,
Howard Jones,
Circle Jerks,
Shoche, Shoche, Shoche, Shoche.
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.