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 Nepal and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 the Soft Cell to the techno kids.
I played it at the 40 Watt.
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 Art Ensemble Of Chicago. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Pantaleimon,
Shuggie Otis,
This Heat,
Soft Machine,
Television,
Kool G Rap & DJ Polo,
Arthur Verocai,
FM Einheit,
Wasted Youth,
Dorothy Ashby,
The Litter,
The Electric Prunes,
The Human League,
Glambeats Corp.,
Barclay James Harvest,
Dave Gahan,
Ronnie Foster,
Hardrive,
The Moleskins,
James Chance & The Contortions,
Schoolly D,
X-Ray Spex,
Jeru the Damaja,
The Techniques,
Jacob Miller,
Desert Stars,
Sun City Girls,
Fifty Foot Hose,
The United States of America,
Black Moon,
Ultra Naté,
The Dirtbombs,
The Kinks,
Roxy Music,
John Lydon,
Ten City,
Red Lorry Yellow Lorry,
Rakim,
Popol Vuh,
Black Bananas,
Erykah Badu,
Bobbi Humphrey,
The Victims,
Technova,
Ossler,
Tears for Fears,
Pole,
Siglo XX,
Unrelated Segments,
Swell Maps,
Liliput,
Hasil Adkins,
Kerrie Biddell,
Pharoah Sanders,
Grauzone,
Slick Rick,
Archie Shepp,
EPMD,
Soft Cell,
Darondo,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.