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 Benin and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1976.
I'm losing my edge.
To all the kids in London and Copenhagen.
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 clarinet 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 Deadbeat to the funk 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 Bill Near. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Spoonie Gee 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Warren Ellis,
Zero Boys,
Dennis Brown,
Oneida,
The Wake,
Marvin Gaye,
Sound Behaviour,
Juan Atkins,
the Sonics,
Don Cherry,
Man Eating Sloth,
Infiniti,
The Names,
Andrew Hill,
Flipper,
The Walker Brothers,
Cluster,
Visionaries,LMNO, T- Love & Iriscience,
The Dirtbombs,
Television,
The Remains,
Theoretical Girls,
Essential Logic,
Bobby Hutcherson,
a-ha,
Terrestrial Tones,
Dave Gahan,
Roxette,
Sun Ra Arkestra,
Magma,
Robert Hood,
8 Eyed Spy,
Avey Tare,
Alison Limerick,
Excepter,
Isaac Hayes,
Kas Product,
Drive Like Jehu,
Delon & Dalcan,
Judy Mowatt,
Eric Copeland,
Ultramagnetic MC's,
It's A Beautiful Day,
Josef K,
Marshall Jefferson,
Michelle Simonal,
Pole,
The Vogues,
Oppenheimer Analysis,
Graham Central Station,
Buzzcocks,
Matthew Halsall,
Art Ensemble Of Chicago,
ABBA,
The Trojans,
Sällskapet,
Bang On A Can,
Franke,
Joy Division,
John Coltrane,
Boz Scaggs,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.