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 Bhutan and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Bill Near to the techno 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 Delta 5. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every James White and The Blacks 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Joyce Sims,
Gregory Isaacs,
Marmalade,
Malaria!,
La Düsseldorf,
Bob Dylan,
Ultimate Spinach,
Joe Finger,
Joensuu 1685,
Grandmaster Flash,
Soulsonic Force,
Jeff Mills,
48th St. Collective,
Loose Ends,
The Five Americans,
cv313,
Franke,
Röyhkä ja Rättö ja Lehtisalo,
Zapp,
Soft Machine,
Neu!,
The Tremeloes,
The Smoke,
The Fire Engines,
The Durutti Column,
Aural Exciters,
Blancmange,
the Fania All-Stars,
The Motions,
Faraquet,
Ice-T,
Brand Nubian,
The Remains,
Notorious Big And Bone Thugs,
Unrelated Segments,
U.S. Maple,
Nico,
The United States of America,
Isaac Hayes,
Gang Starr,
Subhumans,
Heaven 17,
Hoover,
Audionom,
Siglo XX,
Angels of Light & Akron/Family,
Peter & Gordon,
Teenage Jesus and the Jerks,
Leonard Cohen,
Barrington Levy,
Bauhaus,
Pantytec,
The Seeds,
The Cure,
Jacques Brel,
UT,
Eyeless In Gaza,
Supertramp,
Ornette Coleman,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.