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 Gabon and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Cairo and Tokyo.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Carl Craig to the rap kids.
I played it at the 40 Watt.
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 Ossler. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Mo-Dettes,
Amon Düül II,
The Birthday Party,
R.M.O.,
Reagan Youth,
Rakim,
The Dirtbombs,
48th St. Collective,
David Axelrod,
the Bar-Kays,
Thee Headcoats,
Peter & Gordon,
Duran Duran,
B.T. Express,
Gil Scott-Heron and Jamie xx,
Al Stewart,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Jerry Gold Smith,
F. McDonald,
Rekid,
Nas,
Don Cherry,
Avey Tare & Kría Brekkan,
Junior Murvin,
Ronan,
Guru Guru,
Kerri Chandler,
Popol Vuh,
Sugar Minott,
Liliput,
The Saints,
Pussy Galore,
Hot Snakes,
June of 44,
The Sonics,
World's Most,
Banda Bassotti,
The J.B.'s,
Bobby Hutcherson,
Rod Modell,
Radiopuhelimet,
Heaven 17,
Agitation Free,
Sunsets and Hearts,
Howard Jones,
Joe Smooth,
Jerry's Kids,
Deadbeat,
The Zeros,
Rufus Thomas,
Electric Prunes,
Groovy Waters,
Aural Exciters,
Unwound,
Frankie Knuckles,
Icehouse,
Mission of Burma,
Negative Approach,
LL Cool J,
Vladislav Delay,
Intrusion, Intrusion, Intrusion, Intrusion.
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.