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 Latvia and from Tehran.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Mumbai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 T. Rex to the crunk kids.
I played it at Trash.
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 Black Moon. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus 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?
cv313,
Joe Smooth,
The Blackbyrds,
Glambeats Corp.,
Sunsets and Hearts,
Kevin Saunderson,
The Last Poets,
Jawbox,
Excepter,
The Alarm Clocks,
Morten Harket,
Byron Stingily,
The Seeds,
Lou Reed & John Cale,
Crispian St. Peters,
Strawberry Alarm Clock,
Kayak,
Q and Not U,
Crispy Ambulance,
Agitation Free,
June Days,
The Chocolate Watch Band,
Gary Puckett & The Union Gap,
the Germs,
Magazine,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
The United States of America,
Ken Boothe,
Q65,
Gian Franco Pienzio,
Supertramp,
Bill Wells,
D'Angelo,
Susan Cadogan,
Derrick Morgan,
Theoretical Girls,
Simply Red,
Terry Callier,
Whodini,
Visionaries,LMNO, T- Love & Iriscience,
The Gun Club,
Panda Bear,
Amazonics,
Pharoah Sanders,
Masters at Work,
Cecil Taylor,
The Cowsills,
Stockholm Monsters,
Guru Guru,
Larry & the Blue Notes,
Quantec,
Thinking Fellers Union Local 282,
Jacques Brel,
Funky Four + One,
Parry Music,
Michelle Simonal,
The Royal Family And The Poor,
Avey Tare & Kría Brekkan,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.