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 Dominica and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Portland.
I'm losing my edge to the art-school Manchester 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 The Music Machine to the rock 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 Boz Scaggs. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Bootsy Collins,
Section 25,
Mars,
Andrew Ashong & Theo Parrish,
Peter & Gordon,
Faraquet,
La Düsseldorf,
Ajijia Myrayebe,
John Holt,
James Chance & The Contortions,
Von Mondo,
Suburban Knight,
The Slackers,
Gastr Del Sol,
Half Japanese,
Roy Ayers Ubiquity,
cv313,
LL Cool J,
Ash Ra Tempel,
Soft Machine,
Sun Ra,
K-Klass,
Matthew Halsall,
Marcia Griffiths,
Yazoo,
The J.B.'s,
Traffic Nightmare,
Gang Gang Dance,
Supertramp,
The Techniques,
Johnny Osbourne,
David Bowie,
Lou Reed,
The Wake,
Robert Hood,
Essential Logic,
Derrick Morgan,
Main Source,
Vaughan Mason & Crew,
Severed Heads,
Public Image Ltd.,
Gichy Dan,
Orchestral Manoeuvres in the Dark,
Pagans,
The Slits,
Bush Tetras,
Nico,
Los Fastidios,
EPMD,
Hashim,
Man Eating Sloth,
Scientists,
The Standells,
Fela Kuti,
DJ Sneak,
Fluxion,
The Litter,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.