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 Azerbaijan and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Matthew Bourne to the funk 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 Babytalk. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Qualms,
The Slackers,
JFA,
The Seeds,
Lalo Schifrin,
Crash Course in Science,
The Associates,
Curtis Mayfield,
Glambeats Corp.,
Black Sheep,
Fluxion,
The Modern Lovers,
Au Pairs,
Avey Tare's Slasher Flicks,
Severed Heads,
Gabor Szabo,
Ultramagnetic MC's,
Soft Cell,
Magma,
Rekid,
The Cosmic Jokers,
Faraquet,
Black Moon,
Country Joe & The Fish,
Tom Boy,
The Standells,
Groovy Waters,
The Fire Engines,
Desert Stars,
Royal Trux,
Pere Ubu,
The Techniques,
Lungfish,
Amon Düül II,
Colin Newman,
Aural Exciters,
Man Eating Sloth,
X-Ray Spex,
Gichy Dan,
Wire,
Lyres,
Clear Light,
AZ,
Joyce Sims,
the Fania All-Stars,
KRS-One,
Infiniti,
Kauko Röyhkä ja Narttu,
Jeff Mills,
Deakin,
The Stooges,
Harry Pussy,
Althea and Donna,
Mr. Review,
Be Bop Deluxe,
Negative Approach,
The Pretty Things,
Section 25,
Mary Jane Girls,
The Kinks,
The Star Department, The Star Department, The Star Department, The Star Department.
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.