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 Lesotho 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 1960 to 1976.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Dual Sessions to the disco kids.
I played it at the Troubador.
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 Alton Ellis. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Justin Hinds & The Dominoes,
Gil Scott-Heron & Brian Jackson,
The Move,
Lafayette Afro Rock Band,
Arab on Radar,
The Selecter,
New Order,
Quantec,
Young Marble Giants,
R.M.O.,
Joyce Sims,
Spandau Ballet,
The Shadows of Knight,
Boredoms,
Black Bananas,
Deakin,
Flamin' Groovies,
Television Personalities,
Das Ding,
the Bar-Kays,
Soft Cell,
Morten Harket,
Public Enemy,
Theoretical Girls,
Niagra,
The Seeds,
Gong,
Art Ensemble Of Chicago,
Spoonie Gee,
Lou Reed,
Sparks,
Marine Girls,
Ultramagnetic MC's,
The Busters,
Letta Mbulu,
H. Thieme,
Ajijia Myrayebe,
Pete Rock & C.L. Smooth,
The Sound,
Reuben Wilson,
Amon Düül,
Soft Machine,
Tropical Tobacco,
Selector Dub Narcotic,
Saccharine Trust,
Quando Quango,
Groovy Waters,
Barrington Levy,
Glenn Branca,
Orchestral Manoeuvres in the Dark,
Sight & Sound,
Interpol,
Notorious BIG live in Amsterdam,
Sandy B,
Dark Day,
The Buckinghams,
Eden Ahbez,
Gian Franco Pienzio,
Mars, Mars, Mars, Mars.
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.