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 Tajikistan and from Manchester.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Symarip to the punk kids.
I played it at the Spitz.
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 Art Ensemble Of Chicago. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Nas,
The New Christs,
Richard Hell and the Voidoids,
Porter Ricks,
AZ,
The Offenders,
Max Romeo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barrington Levy,
Jerry Gold Smith,
Graham Central Station,
Hardrive,
Major Organ And The Adding Machine,
Khruangbin,
Be Bop Deluxe,
Rakim,
Gerry Rafferty,
Todd Terry,
K-Klass,
the Fania All-Stars,
Avey Tare's Slasher Flicks,
Icehouse,
Lou Christie,
Pantaleimon,
Erasure,
Archie Shepp,
Arthur Verocai,
Brick,
The Martian,
Intrusion,
Urselle,
Country Teasers,
kango's stein massive,
The Victims,
Groovy Waters,
Alice Coltrane,
Bootsy's Rubber Band,
Banda Bassotti,
UT,
Yusef Lateef,
Heavy D & The Boyz,
Peter and Kerry,
Henry Cow,
Nick Fraelich,
Pharaoh Sanders and the Fire Engines,
Cymande,
The Star Department,
Agitation Free,
The Sisters of Mercy,
Depeche Mode,
Janne Schatter,
Warsaw,
Rapeman,
Can,
The Selecter,
Roy Ayers,
Hot Snakes,
ABC,
Angels of Light & Akron/Family,
Whodini,
The Tremeloes,
the Association, the Association, the Association, the Association.
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.