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 Dominica and from Toronto.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Philadelphia 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Rod Modell to the rock kids.
I played it at the Hacienda.
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 Average White Band. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Model 500,
Ronan,
Sugar Minott,
Albert Ayler,
Moebius,
Lucky Dragons,
Pulsallama,
D'Angelo,
Lalann,
Alison Limerick,
The Fugs,
Metal Thangz,
Eric B and Rakim,
Wasted Youth,
Kool G Rap & DJ Polo,
the Fania All-Stars,
Barrington Levy,
Bizarre Inc.,
Strawberry Alarm Clock,
Motorama,
The Velvet Underground,
Half Japanese,
Index,
Wighnomy Brothers & Robag Wruhme,
Sound Behaviour,
Lower 48,
kango's stein massive,
Simply Red,
Underground Resistance,
Monks,
Susan Cadogan,
Letta Mbulu,
Gastr Del Sol,
Banda Bassotti,
Das Ding,
Ornette Coleman,
John Foxx,
Gong,
The Five Americans,
Todd Rundgren,
Alton Ellis,
Massinfluence,
Urselle,
Malaria!,
Danielle Patucci,
Jeru the Damaja,
The Monochrome Set,
Zero Boys,
Sexual Harrassment,
Curtis Mayfield,
The Last Poets,
Drexciya,
Surgeon,
Rufus Thomas,
Derrick Morgan,
Bauhaus,
Camouflage,
Symarip,
OOIOO,
The Cosmic Jokers,
The Monks, The Monks, The Monks, The Monks.
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.