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 Panama and from Accra.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 Robert Palmer 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 Mark Hollis to the electroclash kids.
I played it at Trash.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Nas 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 '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy 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?
Lou Reed,
The Last Poets,
Leonard Cohen,
Erasure,
Crash Course in Science,
Loose Ends,
Toni Rubio,
The Trojans,
The Cramps,
Reuben Wilson,
John Coltrane,
Second Layer,
Lee Hazlewood,
Shuggie Otis,
Sunsets and Hearts,
Pole,
DJ Sneak,
Rhythim Is Rhythim,
Rites of Spring,
Alison Limerick,
Junior Murvin,
Lebanon Hanover,
Underground Resistance,
Hoover,
Fluxion,
Rakim,
Sad Lovers and Giants,
The Zeros,
Hardrive,
La Düsseldorf,
Max Romeo,
Minutemen,
Rhythm & Sound,
Marshall Jefferson,
Lou Reed & John Cale,
Andrew Ashong & Theo Parrish,
Jacob Miller,
Excepter,
The Associates,
Super Lover Cee & Casanova Rud,
Sun Ra Arkestra,
the Normal,
Scott Walker,
Alton Ellis,
PIL,
Magazine,
the Bar-Kays,
Pagans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Shadows of Knight,
Eric B and Rakim,
Notorious Big And Bone Thugs,
Yellowson,
kango's stein massive,
F. McDonald,
DNA,
Barry Ungar,
Public Image Ltd.,
Shoche,
The Mummies,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.