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 Palau and from Halifax.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when David Bowie 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 Normal to the disco 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 Major Organ And The Adding Machine. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Motorama,
Mars,
Boredoms,
Matthew Bourne,
Grey Daturas,
Peter & Gordon,
Andrew Hill,
Roy Ayers,
Alice Coltrane,
The Alarm Clocks,
Clear Light,
The Beau Brummels,
Reagan Youth,
Joe Smooth,
Kerrie Biddell,
Yellowson,
Be Bop Deluxe,
Ultimate Spinach,
Barry Ungar,
Faust,
Can,
The Pop Group,
Tropical Tobacco,
Jesper Dahlback,
Sällskapet,
Sugar Minott,
Scrapy,
Gerry Rafferty,
D'Angelo,
Scott Walker,
Grandmaster Flash,
The Mojo Men,
Aswad,
The Raincoats,
Stockholm Monsters,
Gabor Szabo,
Eddi Front,
The Smoke,
Quantec,
Country Teasers,
The Dave Clark Five,
Y Pants,
The Monks,
Heavy D & The Boyz,
New Age Steppers,
Prince Buster,
The Detroit Cobras,
Amon Düül,
Jacques Brel,
Mad Mike,
The Slackers,
Black Pus,
Alison Limerick,
The Star Department,
Throbbing Gristle,
The Doors,
Byron Stingily,
the Fania All-Stars,
Kool G Rap & DJ Polo,
Guru Guru,
CMW, CMW, CMW, CMW.
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.