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 Bangladesh and from Calgary.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 James White and The Blacks to the jazz kids.
I played it at the Roxy.
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 The Associates. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every The Cure 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 '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Al Stewart,
Sexual Harrassment,
Bobby Womack,
the Human League,
Sonny Sharrock,
Nation of Ulysses,
Dual Sessions,
Moebius,
T. Rex,
The Durutti Column,
Eurythmics,
The Royal Family And The Poor,
Dead Boys,
Trumans Water,
The Mummies,
Swell Maps,
Curtis Mayfield,
Ronan,
Captain Beefheart & His Magic Band,
Notorious BIG live in Amsterdam,
Super Lover Cee & Casanova Rud,
Blake Baxter,
Amazonics,
The Cure,
Cecil Taylor,
The Motions,
Justin Hinds & The Dominoes,
Pharaoh Sanders and the Fire Engines,
New Age Steppers,
Art Ensemble Of Chicago,
Bobby Byrd,
Soft Machine,
Fifty Foot Hose,
The Skatalites,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Terry Callier,
Joensuu 1685,
Pantaleimon,
Lindisfarne,
Grauzone,
H. Thieme,
Rhythim Is Rhythim,
Ponytail,
Black Sheep,
Scratch Acid,
Dawn Penn,
Sandy B,
World's Most,
Vladislav Delay,
The Barracudas,
Rakim,
ABC,
Pete Rock & C.L. Smooth,
Angry Samoans,
Babytalk,
Derrick May,
Oneida,
Crime,
Big Daddy Kane,
The Mojo Men,
Soul II Soul,
the Association, the Association, the Association, the Association.
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.