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 Pakistan and from London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 808 sounds with much patience.
I was there when David Bowie 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 Frankie Knuckles to the electroclash kids.
I played it at the Astoria.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Basic Channel,
Talk Talk,
Wings,
Metal Thangz,
Richard Hell and the Voidoids,
Matthew Halsall,
D'Angelo,
Al Stewart,
Avey Tare's Slasher Flicks,
Pulsallama,
The Busters,
Eric Dolphy,
Barrington Levy,
The Beau Brummels,
Electric Prunes,
The Stooges,
Rod Modell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Yusef Lateef,
Stockholm Monsters,
Eric Copeland,
The Associates,
Public Image Ltd.,
Letta Mbulu,
Brick,
Sandy B,
Half Japanese,
Rosa Yemen,
Rhythm & Sound,
Alison Limerick,
Panda Bear,
Severed Heads,
Todd Rundgren,
James Chance & The Contortions,
The Doors,
Aural Exciters,
R.M.O.,
The Sound,
Peter and Kerry,
Babytalk,
The Toasters,
Prince Buster,
The Gladiators,
Scott Walker + Sunn O))),
Stereo Dub,
Lou Reed,
Gil Scott Heron,
Rakim,
Bobby Hutcherson,
Johnny Clarke,
Slick Rick,
Pylon,
Sam Rivers,
Can,
Junior Murvin,
Pagans,
Ohio Players,
ABBA,
Crispy Ambulance,
MC5,
Barclay James Harvest,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.