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 Saudi Arabia and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Beijing 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 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 Gil Scott-Heron and Jamie xx to the grunge kids.
I played it at the Roxy.
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 Rahsaan Roland Kirk. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Heavy D & The Boyz,
Sister Nancy,
Anakelly,
Bang on a Can All-Stars,
KRS-One,
Soul Sonic Force,
Soft Cell,
Section 25,
Marc Almond,
Roger Hodgson,
The Doors,
Be Bop Deluxe,
Marc Romboy vs. Booka Shade,
Scott Walker,
Jacob Miller,
The Searchers,
Junior Murvin,
Bizarre Inc.,
the Bar-Kays,
The Index,
Liliput,
Second Layer,
New Age Steppers,
Au Pairs,
The J.B.'s,
Delta 5,
Gastr Del Sol,
Don Cherry,
Captain Beefheart & His Magic Band,
Bronski Beat,
Organ,
Rites of Spring,
Camouflage,
Japan,
EPMD,
Isaac Hayes,
Bootsy's Rubber Band,
Scratch Acid,
Al Stewart,
Arthur Verocai,
The Evens,
Cal Tjader,
Gerry Rafferty,
The Victims,
The Selecter,
Scrapy,
Rahsaan Roland Kirk,
Fatback Band,
Radio Birdman,
The Cure,
Rotary Connection,
James White and The Blacks,
The Barracudas,
De La Soul & Jungle Brothers,
Sparks,
Tommy Roe,
Boz Scaggs,
The Buckinghams,
Boredoms,
Scientists,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.