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 Cape Verde and from Philadelphia.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Boredoms to the grime 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 The Last Poets. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Pharaoh Sanders and the Fire Engines,
Marshall Jefferson,
Kerrie Biddell,
Essential Logic,
Lucky Dragons,
Monolake,
Ornette Coleman,
Electric Prunes,
The Gories,
Stetsasonic,
Ash Ra Tempel,
Siglo XX,
It's A Beautiful Day,
Rod Modell,
Aaron Thompson,
DJ Style,
The Real Kids,
AZ,
Heaven 17,
Zapp,
Make Up,
The Fuzztones,
Nas,
The Modern Lovers,
Jimmy McGriff,
Black Bananas,
Mr. Review,
Lou Reed & Metallica,
Liaisons Dangereuses,
ABC,
FM Einheit,
Slave,
Royal Trux,
Nils Olav,
Orchestral Manoeuvres in the Dark,
Erasure,
Nik Kershaw,
Ultramagnetic MC's,
Lonnie Liston Smith,
Sad Lovers and Giants,
Magma,
Country Joe & The Fish,
Tears for Fears,
Wasted Youth,
John Foxx,
Sonic Youth,
Josef K,
The Five Americans,
Minutemen,
Stereo Dub,
The Slits,
Oblivians,
Kango’s Stein Massive,
Leonard Cohen,
The Sound,
Young Marble Giants,
The Skatalites,
Scientists,
Japan,
Skriet, Skriet, Skriet, Skriet.
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.