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 Germany 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 1964 to 1976.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Paris 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 Michael McDonald 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 10cc 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 Terrestrial Tones. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Names 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
H. Thieme,
Boogie Down Productions,
Agitation Free,
Japan,
Bootsy's Rubber Band,
Deutsch Amerikanische Freundschaft,
Bronski Beat,
Tom Boy,
The Fugs,
Warsaw,
Cymande,
Josef K,
The Moleskins,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
Neil Young & Crazy Horse,
Index,
X-Ray Spex,
Warren Ellis,
Joensuu 1685,
Little Man,
Minutemen,
Ronan,
Graham Central Station,
Radiohead,
The Gories,
L. Decosne,
CMW,
Qualms,
China Crisis,
Louis and Bebe Barron,
Niagra,
Mark Hollis,
The Happenings,
Heavy D & The Boyz,
Erasure,
The Durutti Column,
The Royal Family And The Poor,
Nas,
David Axelrod,
Sun Ra Arkestra,
Roy Ayers Ubiquity,
Eyeless In Gaza,
Loose Ends,
Lyres,
D'Angelo,
Soulsonic Force,
Buzzcocks,
New Order,
EPMD,
Glambeats Corp.,
Echo & the Bunnymen,
LL Cool J,
Eurythmics,
Unrelated Segments,
Schoolly D,
Urselle,
the Swans,
Grauzone,
The Human League,
World's Most,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.