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 Argentina and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Columbus and London.
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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Marc Romboy vs. Booka Shade to the grunge kids.
I played it at the Spitz.
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 FM Einheit. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Half Japanese 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Jeru the Damaja,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
Country Teasers,
The Residents,
the Swans,
the Slits,
Dark Day,
The Fire Engines,
Symarip,
Skriet,
David McCallum,
Technova,
Surgeon,
Tropical Tobacco,
Depeche Mode,
Glenn Branca,
The Gladiators,
8 Eyed Spy,
The Remains,
China Crisis,
Hardrive,
Clear Light,
Kool Moe Dee,
Malaria!,
Rakim,
Bizarre Inc.,
One Last Wish,
X-102,
DJ Style,
Wasted Youth,
The Angels of Light,
The Barracudas,
Adolescents,
Heaven 17,
Ultravox,
The Sound,
New York Dolls,
Cecil Taylor,
Absolute Body Control,
Flamin' Groovies,
Sexual Harrassment,
Fear,
Audionom,
Mary Jane Girls,
Man Parrish,
Hot Snakes,
Oneida,
Accadde A,
Sugar Minott,
Scott Walker + Sunn O))),
Dr. Dre and Snoop Doggy Dog,
cv313,
Yusef Lateef,
Harry Pussy,
Nils Olav,
The Martian,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.