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 Kosovo and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Lyon 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 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 Main Source to the techno 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 Brick. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer 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 synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Crash Course in Science,
Sly & The Family Stone,
The Moleskins,
The Red Krayola,
Reuben Wilson,
Lee Hazlewood,
Faraquet,
Model 500,
Colin Newman,
Bang on a Can All-Stars,
Susan Cadogan,
Wire,
Zero Boys,
Dennis Brown,
Bronski Beat,
Vladislav Delay,
June Days,
The Barracudas,
Suicide,
The West Coast Pop Art Experimental Band,
Carl Craig,
Mr. Review,
The Beau Brummels,
the Association,
Stereo Dub,
Massinfluence,
Metal Thangz,
Hashim,
the Normal,
The Pretty Things,
Lalo Schifrin,
Anthony Braxton,
John Coltrane,
Slick Rick,
Television,
Warsaw,
Al Stewart,
Drive Like Jehu,
The Smiths,
Scott Walker,
Tropical Tobacco,
the Soft Cell,
Wighnomy Brothers & Robag Wruhme,
Minor Threat,
Jesper Dahlback,
Schoolly D,
Howard Jones,
The Birthday Party,
ABC,
The Mojo Men,
Peter & Gordon,
Amon Düül,
The Cosmic Jokers,
Drexciya,
Gil Scott-Heron and Jamie xx,
Max Romeo,
The Cramps,
Trumans Water,
Hot Snakes,
Parry Music,
June of 44, June of 44, June of 44, June of 44.
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.