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 Mozambique and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Sugar Minott to the funk kids.
I played it at the Troubador.
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 Sonny Sharrock. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
The Misunderstood,
Ultramagnetic MC's,
Gang Starr,
Vaughan Mason & Crew,
Rotary Connection,
Black Sheep,
Sällskapet,
Crispian St. Peters,
Technova,
Marmalade,
Johnny Osbourne,
Animal Collective,
AZ,
F. McDonald,
Slick Rick,
Sad Lovers and Giants,
Camberwell Now,
The Pretty Things,
Skarface,
Pagans,
Hoover,
Kevin Saunderson,
Quadrant,
Fifty Foot Hose,
Dave Gahan,
Neil Young & Crazy Horse,
A Flock of Seagulls,
Marcia Griffiths,
The Gun Club,
Terry Callier,
Tropical Tobacco,
the Germs,
Toni Rubio,
Brick,
The Doobie Brothers,
Roy Ayers,
The Remains,
Sunsets and Hearts,
Jimmy McGriff,
The Gladiators,
Rahsaan Roland Kirk,
The Men They Couldn't Hang,
The Red Krayola,
Gil Scott Heron,
Visage,
Schoolly D,
Harpers Bizarre,
Stockholm Monsters,
Major Organ And The Adding Machine,
The Move,
Throbbing Gristle,
The Busters,
Lonnie Liston Smith,
Grauzone,
The Fire Engines,
Aural Exciters,
Cymande,
Goldenarms,
the Association,
Joe Smooth,
Bizarre Inc.,
The Star Department, The Star Department, The Star Department, The Star Department.
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.