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 Congo and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Winnipeg 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 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 The Busters to the disco 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 Mars. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Pulsallama,
The Sisters of Mercy,
The Cure,
Major Organ And The Adding Machine,
Y Pants,
Bang on a Can All-Stars,
the Soft Cell,
Cal Tjader,
Kauko Röyhkä ja Narttu,
Visage,
The Index,
Slave,
Ralphi Rosario,
The Zeros,
The Moleskins,
Tres Demented,
The Detroit Cobras,
The Red Krayola,
The Walker Brothers,
Wighnomy Brothers & Robag Wruhme,
Moss Icon,
Aural Exciters,
Gian Franco Pienzio,
Janne Schatter,
Yazoo,
Radiohead,
Dark Day,
Larry & the Blue Notes,
Sunsets and Hearts,
Todd Terry,
Index,
FM Einheit,
Donald Byrd,
Bauhaus,
David McCallum,
The Dead C,
Sarah Menescal,
Lucky Dragons,
Franke,
the Bar-Kays,
Sällskapet,
Rufus Thomas,
Spandau Ballet,
Notorious BIG live in Amsterdam,
Schoolly D,
Michelle Simonal,
The Moody Blues,
Max Romeo,
Pharoah Sanders,
Cymande,
Khruangbin,
Nik Kershaw,
The Birthday Party,
Sparks,
Gil Scott Heron,
the Association,
Bronski Beat,
Matthew Halsall,
Black Moon,
Throbbing Gristle,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.