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 Ghana and from Mumbai.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Maleditus Sound to the dance 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 Essential Logic. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Rosa Yemen 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 '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Motorama,
Nils Olav,
The Pretty Things,
The Martian,
The Seeds,
Funkadelic,
Cal Tjader,
Magma,
June of 44,
Bronski Beat,
Scion,
Intrusion,
Sun Ra Arkestra,
Von Mondo,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
Second Layer,
Freddie Wadling,
Crash Course in Science,
The Men They Couldn't Hang,
Traffic Nightmare,
UT,
A Certain Ratio,
Davy DMX,
Stiv Bators,
Main Source,
Aloha Tigers,
The West Coast Pop Art Experimental Band,
The Wake,
CMW,
Big Daddy Kane,
Thompson Twins,
Bizarre Inc.,
The Alarm Clocks,
Brick,
Rhythim Is Rhythim,
Deakin,
Sonny Sharrock,
Siouxsie and the Banshees,
Lakeside,
Barbara Tucker,
Flipper,
The Fall,
Arcadia,
Richard Hell and the Voidoids,
Jesper Dahlback,
Tres Demented,
Eric Copeland,
Eli Mardock,
Flash Fearless,
Roy Ayers Ubiquity,
Shuggie Otis,
Laurel Aitken,
Judy Mowatt,
Animal Collective,
Massinfluence,
Grandmaster Flash and the Furious Five,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.