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 Morocco and from Copenhagen.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Stockholm 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 oboe sounds with much patience.
I was there when David Bowie 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 Rites of Spring to the crunk kids.
I played it at the Crocodile.
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 Derrick May. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal disco 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 a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Marcia Griffiths,
DNA,
Brothers Johnson,
Unwound,
Gil Scott-Heron & Brian Jackson,
The Velvet Underground,
Gichy Dan,
The Detroit Cobras,
The Toasters,
Soft Machine,
Amazonics,
A Certain Ratio,
Donald Byrd,
Henry Cow,
Bluetip,
David McCallum,
Fat Boys,
The Offenders,
Scan 7,
Nils Olav,
Little Man,
Adolescents,
Alison Limerick,
Symarip,
Marc Romboy vs. Booka Shade,
Gang of Four,
Pylon,
Tomorrow,
The New Christs,
Sonic Youth,
Mission of Burma,
Lebanon Hanover,
The Mojo Men,
The Smoke,
Lou Reed & Metallica,
Parry Music,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
Sun Ra Arkestra,
Jerry Gold Smith,
DeepChord presents Echospace,
Joensuu 1685,
Icehouse,
Barrington Levy,
cv313,
Negative Approach,
Joe Smooth,
Lalo Schifrin,
Stereo Dub,
The Trojans,
Avey Tare's Slasher Flicks,
Magma,
Eyeless In Gaza,
Cabaret Voltaire,
Scott Walker + Sunn O))),
The Star Department,
Saccharine Trust,
Pharoah Sanders,
Rakim,
The Standells,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.