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 Botswana and from Salvador.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Lagos 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 The Gladiators to the rock kids.
I played it at the Roxy.
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 Pantytec. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal dance 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Andrew Ashong & Theo Parrish,
Leonard Cohen,
The Count Five,
Faust,
Television Personalities,
Sticky Fingaz feat. Raekwon,
Colin Newman,
The Offenders,
Public Enemy,
Angry Samoans,
Monks,
Sam Rivers,
David Axelrod,
Vainqueur,
Dennis Brown,
Oppenheimer Analysis,
The Barracudas,
Vladislav Delay,
The Alarm Clocks,
Pulsallama,
The Peanut Butter Conspiracy,
Chrome,
Roxy Music,
One Last Wish,
Dr. Dre and Snoop Doggy Dog,
Dorothy Ashby,
Rowland S Howard / Lydia Lunch,
Whodini,
Todd Rundgren,
Oneida,
Desert Stars,
Jeru the Damaja,
The Litter,
Camberwell Now,
Aural Exciters,
Joyce Sims,
Avey Tare's Slasher Flicks,
Judy Mowatt,
Rhythm & Sound,
Kas Product,
Sight & Sound,
The Gladiators,
Procol Harum,
John Coltrane,
Funky Four + One,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Five Americans,
Rekid,
The Busters,
Public Image Ltd.,
Black Bananas,
Crispy Ambulance,
Idris Muhammad,
Bush Tetras,
the Fania All-Stars,
Derrick Morgan,
Connie Case,
Zapp,
Larry & the Blue Notes,
Red Lorry Yellow Lorry,
Jacob Miller,
Motorama, Motorama, Motorama, Motorama.
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.