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 Cuba and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the harpsichord 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 Popol Vuh to the rap kids.
I played it at Trash.
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 Icehouse. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Aural Exciters,
Andrew Ashong & Theo Parrish,
Masters at Work,
Brass Construction,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Agent Orange,
Intrusion,
Isaac Hayes,
Eric Dolphy,
Max Romeo,
Marmalade,
Todd Rundgren,
Kerri Chandler,
Outsiders,
Zero Boys,
John Foxx,
Gang Gang Dance,
Red Lorry Yellow Lorry,
Carl Craig,
Mary Jane Girls,
Cymande,
Sonny Sharrock,
Porter Ricks,
Bizarre Inc.,
Thee Headcoats,
The Real Kids,
Gary Puckett & The Union Gap,
Byron Stingily,
X-101,
The Slits,
The Blues Magoos,
Animal Collective,
The Velvet Underground,
Franke,
Skaos,
Monolake,
Cybotron,
The Smoke,
Deutsch Amerikanische Freundschaft,
Motorama,
John Coltrane,
EPMD,
Warsaw,
Model 500,
Mandrill,
The Index,
Sticky Fingaz feat. Raekwon,
H. Thieme,
Rhythm & Sound,
the Soft Cell,
Deadbeat,
Bootsy's Rubber Band,
K-Klass,
Thinking Fellers Union Local 282,
It's A Beautiful Day,
Camouflage,
Gian Franco Pienzio,
Bush Tetras,
Oneida, Oneida, Oneida, Oneida.
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.