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 Djibouti and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Cairo 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 organ 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 A Flock of Seagulls to the techno kids.
I played it at the Spitz.
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 48th St. Collective. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Scratch Acid,
Masters at Work,
Robert Görl,
Scott Walker + Sunn O))),
Gary Puckett & The Union Gap,
The Cowsills,
Gil Scott-Heron and Jamie xx,
Hardrive,
Johnny Osbourne,
Kool G Rap & DJ Polo,
Motorama,
D'Angelo,
Thompson Twins,
The Vogues,
Ohio Players,
Oneida,
Curtis Mayfield,
Thinking Fellers Union Local 282,
Magma,
The Offenders,
Terry Callier,
Justin Hinds & The Dominoes,
June Days,
Electric Prunes,
Bang On A Can,
Delon & Dalcan,
Barclay James Harvest,
The Monochrome Set,
Jimmy McGriff,
Lalann,
Donald Byrd,
Fear,
Zapp,
Model 500,
In Retrospect,
KRS-One,
Rakim,
Gang Gang Dance,
Eli Mardock,
Wolf Eyes,
The Techniques,
Reuben Wilson,
Angry Samoans,
Grandmaster Flash and the Furious Five,
Davy DMX,
The Happenings,
Technova,
DNA,
Siglo XX,
Yusef Lateef,
Quando Quango,
Lou Reed & John Cale,
Dead Boys,
Pierre Henry,
Charles Mingus,
The Smiths,
The Tremeloes,
Jeff Lynne,
Graham Central Station,
The Cure,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.