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 Kazakhstan and from Copenhagen.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 David Axelrod to the techno kids.
I played it at the Crocodile.
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 Groovy Waters. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Animal Collective,
Lonnie Liston Smith,
Byron Stingily,
Peter and Kerry,
Cabaret Voltaire,
Barry Ungar,
Magma,
The Offenders,
Stereo Dub,
Heaven 17,
Bootsy Collins,
Grey Daturas,
Barbara Tucker,
The Shadows of Knight,
Sun City Girls,
Depeche Mode,
Yellowson,
Kenny Larkin,
Alton Ellis,
Avey Tare & Kría Brekkan,
Motorama,
Throbbing Gristle,
Quadrant,
The Gories,
Urselle,
Sly & The Family Stone,
Second Layer,
Can,
Letta Mbulu,
Eden Ahbez,
Idris Muhammad,
Isaac Hayes,
Ponytail,
Lee Hazlewood,
Amon Düül II,
Jacques Brel,
Technova,
Joey Negro,
MDC,
Crispy Ambulance,
Glambeats Corp.,
Gregory Isaacs,
The Fall,
Country Joe & The Fish,
It's A Beautiful Day,
Sex Pistols,
Aswad,
Lucky Dragons,
Skriet,
Outsiders,
Ronnie Foster,
Derrick May,
AZ,
Basic Channel,
Yazoo,
Gichy Dan,
Shuggie Otis,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.