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 Botswana and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Pharoah Sanders to the jazz 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 Eric Dolphy. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Cybotron,
Scientists,
Graham Central Station,
Gang Gang Dance,
Qualms,
The Fugs,
T.S.O.L.,
Sarah Menescal,
Icehouse,
Masters at Work,
Chris Corsano,
The Stooges,
8 Eyed Spy,
Smog,
Aswad,
Marine Girls,
Sun City Girls,
The Five Americans,
Ohio Players,
The Tremeloes,
Jesper Dahlback,
Thompson Twins,
Grauzone,
Organ,
Saccharine Trust,
Quando Quango,
Roger Hodgson,
Ajijia Myrayebe,
Bluetip,
Crispian St. Peters,
Gabor Szabo,
Clear Light,
Gil Scott Heron,
Toni Rubio,
Judy Mowatt,
Rhythm & Sound,
Todd Rundgren,
The Monochrome Set,
Boogie Down Productions,
Metal Thangz,
The Walker Brothers,
The Sisters of Mercy,
AZ,
The Velvet Underground,
The Martian,
Jerry Gold Smith,
Fad Gadget,
Lower 48,
Terrestrial Tones,
The Grass Roots,
Stetsasonic,
Susan Cadogan,
Amon Düül II,
Andrew Hill,
Manfred Mann's Earth Band,
Hot Snakes,
Symarip,
Chrome,
the Bar-Kays,
The Young Rascals,
John Coltrane,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.