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 South Africa and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 Eyeless In Gaza to the rap kids.
I played it at the Roxy.
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 OOIOO. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Barrington Levy 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Bobby Womack,
Ponytail,
The Offenders,
Au Pairs,
Brand Nubian,
FM Einheit,
Absolute Body Control,
Livin' Joy,
Maleditus Sound,
Bang on a Can All-Stars,
Gabor Szabo,
a-ha,
Sun City Girls,
Lindisfarne,
Bang On A Can,
The Standells,
Gian Franco Pienzio,
Motorama,
Danielle Patucci,
The Flesh Eaters,
Crispian St. Peters,
Pantytec,
A Certain Ratio,
David McCallum,
Crispy Ambulance,
Avey Tare & Kría Brekkan,
Whodini,
the Association,
The Evens,
Deepchord,
Mark Hollis,
Grey Daturas,
Gil Scott-Heron and Jamie xx,
Bizarre Inc.,
Tommy Roe,
Lower 48,
DJ Style,
Sexual Harrassment,
Juan Atkins,
Supertramp,
Basic Channel,
Flipper,
Groovy Waters,
The Fuzztones,
Sly & The Family Stone,
Moebius,
Rosa Yemen,
Andrew Ashong & Theo Parrish,
The Moody Blues,
T. Rex,
Janne Schatter,
Yellowson,
Eric Dolphy,
Thompson Twins,
Black Sheep,
The Divine Comedy,
Babytalk,
Al Stewart,
Organ,
The Blues Magoos,
Funky Four + One,
The Kinks, The Kinks, The Kinks, The Kinks.
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.