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 Montenegro and from Tehran.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and Bremen.
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 organ sounds with much patience.
I was there when Robert Palmer 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 Crime to the grunge kids.
I played it at the Spitz.
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 Alton Ellis. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
DJ Style,
Dorothy Ashby,
Bronski Beat,
Ronnie Foster,
Wally Richardson,
Don Cherry,
The Fall,
Lungfish,
Ohio Players,
The Smoke,
Nico,
Faraquet,
the Soft Cell,
Lou Reed & John Cale,
Country Joe & The Fish,
The New Christs,
Deakin,
David McCallum,
London Community Gospel Choir,
Kaleidoscope,
Mark Hollis,
Gary Puckett & The Union Gap,
Stereo Dub,
the Slits,
Crispy Ambulance,
Agitation Free,
Strawberry Alarm Clock,
Rhythm & Sound,
JFA,
Donny Hathaway,
John Foxx,
The Fuzztones,
Skriet,
In Retrospect,
Electric Prunes,
Art Ensemble Of Chicago,
Goldenarms,
John Lydon,
Bang On A Can,
Icehouse,
Outsiders,
Soul Sonic Force,
Flash Fearless,
Warsaw,
Kerri Chandler,
Lee Hazlewood,
Jerry Gold Smith,
Pole,
The Birthday Party,
Metal Thangz,
Sight & Sound,
Mary Jane Girls,
Brothers Johnson,
Richard Hell and the Voidoids,
Moebius,
Sugar Minott,
Desert Stars,
ABBA,
Scott Walker,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.