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 Australia and from Cairo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
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 synthesizer 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 New Age Steppers to the punk 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 A Certain Ratio. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Mary Jane Girls 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
June Days,
Television Personalities,
Derrick Morgan,
Sällskapet,
Model 500,
Aural Exciters,
The Trojans,
Gian Franco Pienzio,
Jawbox,
The Gun Club,
Justin Hinds & The Dominoes,
Minutemen,
Camron Feat. Jay Z And Juelz,
Drive Like Jehu,
Glenn Branca,
Pere Ubu,
Strawberry Alarm Clock,
The Fugs,
Soul Sonic Force,
Brothers Johnson,
Soul II Soul,
Erykah Badu,
Japan,
Hoover,
Bill Wells,
Subhumans,
Harry Pussy,
Janne Schatter,
Kayak,
Massinfluence,
X-101,
Deutsch Amerikanische Freundschaft,
Sister Nancy,
Clear Light,
Neu!,
Jerry's Kids,
The Alarm Clocks,
Joe Finger,
Popol Vuh,
Johnny Clarke,
Throbbing Gristle,
Don Cherry,
Rites of Spring,
The Black Dice,
Grandmaster Flash,
Harpers Bizarre,
Blancmange,
Depeche Mode,
John Cale,
Pete Rock & C.L. Smooth,
Mad Mike,
Average White Band,
The Names,
T.S.O.L.,
Chris Corsano,
Gil Scott-Heron and Jamie xx,
Moebius,
E-Dancer,
Alice Coltrane,
Procol Harum,
The Gap Band,
The Doors,
The Walker Brothers,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.