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 Bhutan and from Manila.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Philadelphia 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 The Smoke to the grime kids.
I played it at the Hacienda.
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 Skarface. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Black Dice 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 '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Slave 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?
Faust,
Junior Murvin,
Reuben Wilson,
Avey Tare & Kría Brekkan,
Nirvana,
The Dirtbombs,
Tears for Fears,
Super Lover Cee & Casanova Rud,
Lyres,
the Fania All-Stars,
Prince Buster,
Orchestral Manoeuvres in the Dark,
Eric Dolphy,
FM Einheit,
Angels of Light & Akron/Family,
Michelle Simonal,
Pantaleimon,
Cabaret Voltaire,
Aloha Tigers,
Angry Samoans,
Groovy Waters,
Con Funk Shun,
Peter & Gordon,
Leonard Cohen,
Audionom,
Barrington Levy,
The Techniques,
Jerry's Kids,
the Normal,
Terrestrial Tones,
The Neon Judgement,
Easy Going,
Charles Mingus,
Throbbing Gristle,
Babytalk,
Radio Birdman,
Public Image Ltd.,
Vaughan Mason & Crew,
Sixth Finger,
Cal Tjader,
Soul Sonic Force,
Porter Ricks,
Jesper Dahlback,
Swell Maps,
Jimmy McGriff,
Darondo,
David Bowie,
Supertramp,
Boz Scaggs,
These Immortal Souls,
Sparks,
Steve Hackett,
Negative Approach,
Scratch Acid,
Bootsy Collins,
Silicon Teens,
Altered Images,
Jesper Dahlbäck,
The Pretty Things,
The J.B.'s,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.