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 Seychelles and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
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 arpeggiator 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 Super Lover Cee & Casanova Rud to the electroclash kids.
I played it at Trash.
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 Oblivians. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal techno 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Grandmaster Flash and the Furious Five,
Television Personalities,
Joensuu 1685,
Deadbeat,
Das Ding,
Sällskapet,
F. McDonald,
Leonard Cohen,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Zapp,
OOIOO,
Malaria!,
Roy Ayers,
John Foxx,
Aswad,
Mandrill,
Bronski Beat,
Soul Sonic Force,
Tubeway Army,
Aloha Tigers,
Scott Walker,
Pantytec,
Angry Samoans,
The Residents,
Rapeman,
Magazine,
The Pop Group,
The Happenings,
The Detroit Cobras,
Ohio Players,
Harry Pussy,
In Retrospect,
Banda Bassotti,
Colin Newman,
Jesper Dahlbäck,
Unrelated Segments,
ABBA,
Cameo,
Reagan Youth,
David Axelrod,
The Knickerbockers,
Sly & The Family Stone,
Lebanon Hanover,
Gil Scott-Heron and Jamie xx,
Q and Not U,
kango's stein massive,
Thinking Fellers Union Local 282,
CMW,
Stereo Dub,
the Slits,
Jeff Lynne,
Kool Moe Dee,
Stockholm Monsters,
Crispian St. Peters,
Little Man,
Fort Wilson Riot,
Barbara Tucker,
Neu!,
Neil Young,
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.