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 South Africa and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Jakarta 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 Donald Fagen 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 Derrick May to the funk kids.
I played it at the Astoria.
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 Birthday Party. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
The Zeros,
Joe Smooth,
Nik Kershaw,
Fort Wilson Riot,
Delon & Dalcan,
Qualms,
New Order,
Gil Scott Heron,
Major Organ And The Adding Machine,
Bob Dylan,
The Associates,
E-Dancer,
T. Rex,
Todd Terry,
Eddi Front,
Absolute Body Control,
Smog,
Lee Hazlewood,
World's Most,
The Velvet Underground,
Pharoah Sanders,
Mark Hollis,
Newcleus,
Sixth Finger,
Radiohead,
Heaven 17,
The Red Krayola,
Althea and Donna,
Funkadelic,
Interpol,
Lalo Schifrin,
Television,
Kenny Larkin,
Dawn Penn,
Angry Samoans,
Gil Scott-Heron and Jamie xx,
John Holt,
Red Lorry Yellow Lorry,
Television Personalities,
The Modern Lovers,
Cluster,
Public Image Ltd.,
Thinking Fellers Union Local 282,
Ossler,
Sunsets and Hearts,
Second Layer,
Minnie Riperton,
Agent Orange,
Bizarre Inc.,
Juan Atkins,
Notorious Big And Bone Thugs,
Scientists,
Traffic Nightmare,
The Angels of Light,
Eric Dolphy,
Joy Division,
Intrusion,
The Cowsills,
The Sound,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.