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 Netherlands and from Mexico City.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Milan 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 Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Peter & Gordon to the electroclash 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 The Gladiators. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
10cc,
Slave,
It's A Beautiful Day,
The Smiths,
Yaz,
Joe Smooth,
Justin Hinds & The Dominoes,
Supertramp,
The Red Krayola,
Johnny Clarke,
Sun City Girls,
Minnie Riperton,
The Shadows of Knight,
Jawbox,
Davy DMX,
Ornette Coleman,
E-Dancer,
F. McDonald,
Eric Copeland,
Scion,
James Chance & The Contortions,
Ludus,
Boredoms,
Thinking Fellers Union Local 282,
Ultramagnetic MC's,
Essential Logic,
Lucky Dragons,
Desert Stars,
Gang Gang Dance,
Das Ding,
Franke,
AZ,
Marvin Gaye,
B.T. Express,
Swans,
Oppenheimer Analysis,
Echospace,
Country Teasers,
Al Stewart,
Accadde A,
Susan Cadogan,
Alice Coltrane,
Mandrill,
The Doors,
Rites of Spring,
The Smoke,
Pierre Henry,
Sunsets and Hearts,
The Cosmic Jokers,
Skarface,
Derrick Morgan,
Cymande,
X-102,
Fugazi,
The Sound,
MC5,
Alison Limerick,
the Bar-Kays,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.