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 Austria and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Cairo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Funky Four + One to the rap kids.
I played it at the Troubador.
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 a-ha. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Inner City,
June of 44,
Nick Cave & The Bad Seeds,
Deakin,
Television,
The Detroit Cobras,
Tomorrow,
Kauko Röyhkä ja Narttu,
Todd Terry,
Blancmange,
Public Image Ltd.,
Arcadia,
Bobby Sherman,
Brass Construction,
Severed Heads,
The Doobie Brothers,
The Associates,
Kool Moe Dee,
Mary Jane Girls,
Visionaries,LMNO, T- Love & Iriscience,
The Motions,
L. Decosne,
Monks,
Major Organ And The Adding Machine,
Sarah Menescal,
Ohio Players,
Lee Hazlewood,
Harmonia,
Ten City,
Warren Ellis,
The Litter,
E-Dancer,
Letta Mbulu,
Alton Ellis,
Angry Samoans,
Kas Product,
Cymande,
Oblivians,
Larry & the Blue Notes,
James Chance & The Contortions,
Ash Ra Tempel,
Man Parrish,
Pierre Henry,
John Holt,
The Tremeloes,
Aloha Tigers,
Black Bananas,
The New Christs,
Gichy Dan,
Terrestrial Tones,
FM Einheit,
The Standells,
Faraquet,
Black Flag,
Wighnomy Brothers & Robag Wruhme,
Tom Boy,
David McCallum,
Shoche,
Wolf Eyes,
The Seeds,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.