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 Kiribati and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Manila 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Donald Byrd to the grime 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 Rhythm & Sound. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Jacques Brel 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Television,
Bootsy Collins,
Kool Moe Dee,
Ralphi Rosario,
Wally Richardson,
8 Eyed Spy,
Louis and Bebe Barron,
Notorious Big And Bone Thugs,
the Sonics,
Dual Sessions,
Kaleidoscope,
the Slits,
Joy Division,
Iggy Pop,
Reagan Youth,
Boredoms,
Radiopuhelimet,
Sunsets and Hearts,
Sandy B,
T. Rex,
Nation of Ulysses,
X-102,
Sugar Minott,
The Invisible,
Massinfluence,
Radiohead,
Brick,
The Happenings,
The Royal Family And The Poor,
Scratch Acid,
Ken Boothe,
Zero Boys,
The Residents,
Janne Schatter,
DNA,
Con Funk Shun,
David Axelrod,
Joensuu 1685,
Scott Walker,
Matthew Bourne,
Eric B and Rakim,
Fear,
The Cramps,
The Sound,
Theoretical Girls,
a-ha,
cv313,
Ludus,
Country Teasers,
John Coltrane,
Marvin Gaye,
Minny Pops,
Yazoo,
Colin Newman,
Gian Franco Pienzio,
New Age Steppers,
Bill Near,
Sad Lovers and Giants,
Pantaleimon,
Lindisfarne,
Joe Smooth,
Bluetip,
Visionaries,LMNO, T- Love & Iriscience,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.