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 Poland and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school Jakarta 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Moody Blues to the electroclash kids.
I played it at the 40 Watt.
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 Kerri Chandler. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Gil Scott Heron 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Marmalade,
Thee Headcoats,
Model 500,
LL Cool J,
Frankie Knuckles,
Rhythm & Sound,
Dead Boys,
Junior Murvin,
Eyeless In Gaza,
Chris & Cosey,
Peter and Kerry,
Ultramagnetic MC's,
In Retrospect,
Porter Ricks,
Boogie Down Productions,
The Star Department,
Lindisfarne,
Avey Tare & Kría Brekkan,
Pantytec,
The Shadows of Knight,
Larry & the Blue Notes,
The Seeds,
Iggy Pop,
Metal Thangz,
The American Breed,
Shoche,
Oppenheimer Analysis,
Soul Sonic Force,
Gil Scott-Heron & Brian Jackson,
the Swans,
Eddi Front,
Agent Orange,
Moby Grape,
Camberwell Now,
Boz Scaggs,
Man Parrish,
The Gap Band,
Audionom,
Shuggie Otis,
John Cale,
The Blues Magoos,
DJ Style,
The Evens,
Cameo,
Quando Quango,
Josef K,
Camouflage,
The Monks,
Barbara Tucker,
Essential Logic,
X-101,
This Heat,
EPMD,
La Düsseldorf,
Terry Callier,
Lalo Schifrin,
The Doors,
The Birthday Party,
UT,
The Techniques,
Red Lorry Yellow Lorry,
Swans,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.