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 Laos and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Mexico City 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 Pharoah Sanders to the funk kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Japan,
The Slits,
Oppenheimer Analysis,
Lalo Schifrin,
Brass Construction,
Los Fastidios,
Infiniti,
Sandy B,
Glambeats Corp.,
Todd Terry,
The Real Kids,
Dawn Penn,
Brand Nubian,
Masters at Work,
Bill Wells,
Interpol,
The Last Poets,
Swell Maps,
Crooked Eye,
Amazonics,
Altered Images,
Sugar Minott,
Hasil Adkins,
Crispy Ambulance,
Theoretical Girls,
DeepChord presents Echospace,
Sound Behaviour,
Bobby Hutcherson,
Lyres,
Godley & Creme,
Sister Nancy,
David Bowie,
Lizzy Mercier Descloux,
Fort Wilson Riot,
Peter and Kerry,
The Gladiators,
Grandmaster Flash,
Angels of Light & Akron/Family,
Kerri Chandler,
Major Organ And The Adding Machine,
Hoover,
Patti Smith,
Ultra Naté,
The Smoke,
Shoche,
Country Joe & The Fish,
Joensuu 1685,
Visage,
Gil Scott-Heron & Brian Jackson,
The Litter,
The Busters,
R.M.O.,
Sight & Sound,
The Black Dice,
These Immortal Souls,
David McCallum,
Mary Jane Girls,
The Divine Comedy,
Marvin Gaye,
Henry Cow,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.