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 South Sudan and from Milan.
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 Bologna and Copenhagen.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Negative Approach to the crunk 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 Lucky Dragons. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every The Selecter 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Avey Tare's Slasher Flicks,
Dual Sessions,
Jacques Brel,
Kool G Rap & DJ Polo,
John Coltrane,
The Beau Brummels,
Niagra,
Graham Central Station,
Minnie Riperton,
Boz Scaggs,
It's A Beautiful Day,
Pharaoh Sanders and the Fire Engines,
Porter Ricks,
The Real Kids,
Camouflage,
The Sisters of Mercy,
Quando Quango,
Mr. Review,
Marshall Jefferson,
Delta 5,
Dorothy Ashby,
Donny Hathaway,
Ronan,
Panda Bear,
Interpol,
Iggy Pop,
Pantaleimon,
the Normal,
Cal Tjader,
John Cale,
The Star Department,
Rapeman,
The Gap Band,
Sad Lovers and Giants,
Jandek,
DNA,
Tres Demented,
Flipper,
Duran Duran,
Y Pants,
the Soft Cell,
Johnny Osbourne,
Fela Kuti,
Khruangbin,
Icehouse,
Pagans,
Glambeats Corp.,
K-Klass,
The Fortunes,
Marmalade,
Sällskapet,
The Black Dice,
Lizzy Mercier Descloux,
Royal Trux,
Fifty Foot Hose,
Strawberry Alarm Clock,
Sexual Harrassment,
Ash Ra Tempel,
Cameo,
The Royal Family And The Poor,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.