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 Kazakhstan and from Bremen.
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 New York.
I'm losing my edge to the art-school Spokane 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 snare sounds with much patience.
I was there when Michael McDonald 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 Nirvana to the rap kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Kerrie Biddell,
Chris Corsano,
Monolake,
The Invisible,
Jesper Dahlback,
Peter & Gordon,
Frankie Knuckles,
Heaven 17,
Scan 7,
Liliput,
Black Pus,
The J.B.'s,
Eden Ahbez,
Schoolly D,
Section 25,
Audionom,
Rapeman,
Justin Hinds & The Dominoes,
The Blues Magoos,
Bootsy's Rubber Band,
The Fire Engines,
DNA,
Man Parrish,
Unrelated Segments,
Lightning Bolt,
Andrew Hill,
The Music Machine,
Toni Rubio,
The Skatalites,
Ash Ra Tempel,
John Lydon,
Echospace,
The West Coast Pop Art Experimental Band,
Siouxsie and the Banshees,
The Seeds,
Skaos,
Kaleidoscope,
Japan,
Rahsaan Roland Kirk,
X-101,
Clear Light,
Cecil Taylor,
Mark Hollis,
Funkadelic,
Ken Boothe,
Davy DMX,
Soulsonic Force,
Marcia Griffiths,
Spandau Ballet,
Camouflage,
The Busters,
Vladislav Delay,
Marine Girls,
Althea and Donna,
Agent Orange,
Peter Gordon & Love of Life Orchestra,
Camberwell Now,
The Shadows of Knight,
Jesper Dahlbäck,
Fad Gadget,
Jacques Brel,
T. Rex,
X-102,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.