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 Jordan and from Delhi.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Johannesburg 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Brothers Johnson to the funk 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 Mark Hollis. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Major Organ And The Adding Machine,
Bobby Sherman,
Zapp,
Accadde A,
Quadrant,
Lonnie Liston Smith,
The Techniques,
Fear,
Hoover,
Fifty Foot Hose,
Monolake,
Flash Fearless,
Marmalade,
Wolf Eyes,
The Litter,
The Remains,
Sun Ra,
Rod Modell,
Electric Prunes,
Ponytail,
Neil Young & Crazy Horse,
X-102,
Y Pants,
Mark Hollis,
Mo-Dettes,
Kool Moe Dee,
Scion,
Can,
Fad Gadget,
Oblivians,
Icehouse,
Second Layer,
Ultimate Spinach,
Dorothy Ashby,
Fela Kuti,
MC5,
Skriet,
Pagans,
Morten Harket,
The Smoke,
Ken Boothe,
Babytalk,
Beasts of Bourbon,
The Vogues,
Lou Christie,
Boz Scaggs,
Soul Sonic Force,
Dark Day,
Lightning Bolt,
Pierre Henry,
Guru Guru,
Quantec,
Eddi Front,
H. Thieme,
Traffic Nightmare,
Mr. Review,
Ash Ra Tempel,
Tim Buckley,
Gabor Szabo,
Malaria!,
Suburban Knight,
Alice Coltrane,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.